6 ideas
| 13416 | Mathematics must be based on axioms, which are true because they are axioms, not vice versa [Tait, by Parsons,C] |
| Full Idea: The axiomatic conception of mathematics is the only viable one. ...But they are true because they are axioms, in contrast to the view advanced by Frege (to Hilbert) that to be a candidate for axiomhood a statement must be true. | |
| From: report of William W. Tait (Intro to 'Provenance of Pure Reason' [2005], p.4) by Charles Parsons - Review of Tait 'Provenance of Pure Reason' §2 | |
| A reaction: This looks like the classic twentieth century shift in the attitude to axioms. The Greek idea is that they must be self-evident truths, but the Tait-style view is that they are just the first steps in establishing a logical structure. I prefer the Greeks. |
| 15049 | Metaphysical realists are committed to all unambiguous statements being true or not true [Dummett] |
| Full Idea: The anti-realist view undercuts the ground for accepting bivalence. ...Acceptance of bivalence should not be taken as a sufficient condition for realism. ..They accept the weaker principle that unambiguous statements are determinately true or not true. | |
| From: Michael Dummett (Realism and Anti-Realism [1992], p.467) | |
| A reaction: [cited by Kit Fine, when discussing anti-realism] I take it be quite an important component of realism that there might be facts which will never be expressed, or are even beyond our capacity to grasp or express them |
| 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. |