7 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. |
| 16285 | A possible world can be seen as a complete and consistent novel [Jeffrey] |
| Full Idea: A novel describes a possible world in as much detail as is possible without exceeding the resources of the agent's language. But if talk of possible worlds seems dangerously metaphysical, focus on the novels themselves, when complete and consistent. | |
| From: Richard Jeffrey (The Logic of Decision [1965], 12.8), quoted by David Lewis - On the Plurality of Worlds | |
| A reaction: Lewis seems to cite this remark from Jeffrey as the source of the idea that ersatz linguistic worlds are like novels. Why won't a novel with one tiny inconsistency count as a possible world? People seem to live in it. |
| 19155 | Instead of gambling, Jeffrey made the objects of Bayesian preference to be propositions [Jeffrey, by Davidson] |
| Full Idea: Jeffrey produced a version of Bayesianism that made no direct use of gambling (as Ramsey had), but treats the objects of preference ...as propositions. | |
| From: report of Richard Jeffrey (The Logic of Decision [1965]) by Donald Davidson - Truth and Predication 3 | |
| A reaction: I'm guessing that Jeffreys launched modern Bayesian theory with this idea. It suggest that one can consider degrees of truth, rather than mere winning or losing. |
| 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. |
| 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! |
| 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. |