9 ideas
| 18832 | Mathematical statements and entities that result from an infinite process must lack a truth-value [Dummett] |
| Full Idea: On an intuitionistic view, neither the truth-value of a statement nor any other mathematical entity can be given as the final result of an infinite process, since an infinite process is precisely one that does not have a final result. | |
| From: Michael Dummett (Elements of Intuitionism (2nd ed) [2000], p.41), quoted by Ian Rumfitt - The Boundary Stones of Thought 7.3 | |
| A reaction: This is rather a persuasive reason to sympathise with intuitionism. Mathematical tricks about 'limits' have lured us into believing in completed infinities, but actually that idea is incoherent. |
| 12699 | A body would be endless disunited parts, if it did not have a unifying form or soul [Leibniz] |
| Full Idea: Without soul or form of some kind, a body would have no being, because no part of it can be designated which does not in turn consist of more parts. Thus nothing could be designated in a body which could be called 'this thing', or a unity. | |
| From: Gottfried Leibniz (Conspectus libelli (book outline) [1678], A6.4.1988), quoted by Daniel Garber - Leibniz:Body,Substance,Monad 1 | |
| A reaction: The locution 'soul or form' is disconcerting, and you have to spend some time with Leibniz to get the hang of it. The 'soul' is not intelligent, and is more like a source of action and response. |
| 12700 | Form or soul gives unity and duration; matter gives multiplicity and change [Leibniz] |
| Full Idea: Substantial form, or soul, is the principle of unity and duration, matter is that of multiplicity and change | |
| From: Gottfried Leibniz (Conspectus libelli (book outline) [1678], A6.4.1398-9), quoted by Daniel Garber - Leibniz:Body,Substance,Monad 2 | |
| A reaction: Leibniz was a fan of the unfashionable Aristotle, and tried to put a spin on his views consonant with contemporary Hobbesian mechanistic views. Oddly, he likes the idea that 'form' is indestructable, which I don't understand. |
| 12736 | If we understand God and his choices, we have a priori knowledge of contingent truths [Leibniz, by Garber] |
| Full Idea: Insofar as we have some insight into how God chooses, we can know a priori the laws of nature that God chooses for this best of all possible worlds. In this way, it is possible to have genuine a priori knowledge of contingent truths. | |
| From: report of Gottfried Leibniz (Conspectus libelli (book outline) [1678], A6.4.1998-9) by Daniel Garber - Leibniz:Body,Substance,Monad 6 | |
| A reaction: I think it would be doubtful whether our knowledge of God's choosings would count as a priori. How do we discover them? Ah! We derive God from the ontological argument, and his choosings from the divine perfection implied thereby. |
| 12698 | Every body contains a kind of sense and appetite, or a soul [Leibniz] |
| Full Idea: I believe that there is in every body a kind of sense and appetite, or a soul. | |
| From: Gottfried Leibniz (Conspectus libelli (book outline) [1678], A6.4.2010), quoted by Daniel Garber - Leibniz:Body,Substance,Monad 1 | |
| A reaction: Note that he never says that there is any intelligence present. This eventually becomes his monadology, but Leibniz is the most obvious post-Greek philosopher to flirt with panpsychism. |
| 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! |