6 ideas
| 21461 | I tried to be unsystematic and piecemeal, but failed; my papers presuppose my other views [Lewis] |
| Full Idea: I should have like to be a piecemeal, unsystematic philosopher, offering independent proposals on a variety of topics. It was not be. I succumbed too often to the temptation to presuppose my views on one topic when writing on another. | |
| From: David Lewis (Introduction to Philosophical Papers I [1983], p.1) | |
| A reaction: He particularly mentions his possible worlds realism as a doctrine which coloured all his other work. A charming insight into the mind of a systematic thinker (called by someone 'the most systematic metaphysician since Leibniz'). |
| 9145 | We form the image of a cardinal number by a double abstraction, from the elements and from their order [Cantor] |
| Full Idea: We call 'cardinal number' the general concept which, by means of our active faculty of thought, arises when we make abstraction from an aggregate of its various elements, and of their order. From this double abstraction the number is an image in our mind. | |
| From: George Cantor (Beitrage [1915], §1), quoted by Kit Fine - Cantorian Abstraction: Recon. and Defence Intro | |
| A reaction: [compressed] This is the great Cantor, creator of set theory, endorsing the traditional abstractionism which Frege and his followers so despise. Fine offers a defence of it. The Frege view is platonist, because it refuses to connect numbers to the world. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |