13 ideas
| 15045 | The big issue since the eighteenth century has been: what is Reason? Its effect, limits and dangers? [Foucault] |
| Full Idea: I think the central issue of philosophy and critical thought since the eighteenth century has always been, still is, and will, I hope, remain the question: What is this Reason that we use? What are its historical effects? What are its limits and dangers? | |
| From: Michel Foucault (Space, Knowledge and Power (interview) [1982], p.358) | |
| A reaction: One can hardly deny the fairness of the question, but I hope that won't prevent us from trying to be rational. Maybe logicians do a better job of clarifying reason than the political and historical speculations of Foucault? |
| 14775 | Numbers are just names devised for counting [Peirce] |
| Full Idea: Numbers are merely a system of names devised by men for the purpose of counting. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], II) | |
| A reaction: This seems a perfectly plausible view prior to the advent of Cantor, set theory and modern mathematical logic. I suppose the modern reply to this is that Peirce may be right about origin, but that men thereby stumbled on an Aladdin's Cave of riches. |
| 14776 | That two two-eyed people must have four eyes is a statement about numbers, not a fact [Peirce] |
| Full Idea: To say that 'if' there are two persons and each person has two eyes there 'will be' four eyes is not a statement of fact, but a statement about the system of numbers which is our own creation. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], II) | |
| A reaction: One eye for each arm of the people is certainly a fact. Frege uses this equivalence to build numbers. I think Peirce is wrong. If it is not a fact that these people have four eyes, I don't know what 'four' means. It's being two pairs is also a fact. |
| 14770 | Reasoning is based on statistical induction, so it can't achieve certainty or precision [Peirce] |
| Full Idea: All positive reasoning is judging the proportion of something in a whole collection by the proportion found in a sample. Hence we can never hope to attain absolute certainty, absolute exactitude, absolute universality. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], II) | |
| A reaction: This is the basis of Peirce's fallibilism - that all 'positive' reasoning (whatever that it?) is based on statistical induction. I'm all in favour of fallibilism, but find Peirce's claim to be a bit too narrow. He was too mesmerised by physical science. |
| 14774 | Innate truths are very uncertain and full of error, so they certainly have exceptions [Peirce] |
| Full Idea: It seems to me there is the most historic proof that innate truths are particularly uncertain and mixed up with error, and therefore a fortiori not without exception. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], II) |
| 14773 | A truth is hard for us to understand if it rests on nothing but inspiration [Peirce] |
| Full Idea: A truth which rests on the authority of inspiration only is of a somewhat incomprehensible nature; and we can never be sure that we rightly comprehend it. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], II) |
| 14772 | If we decide an idea is inspired, we still can't be sure we have got the idea right [Peirce] |
| Full Idea: Even if we decide that an idea really is inspired, we cannot be sure, or nearly sure, that the statement is true. We know one of the commandments of the Bible was printed without a 'not' in it. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], II) |
| 14771 | Only reason can establish whether some deliverance of revelation really is inspired [Peirce] |
| Full Idea: We never can be absolutely certain that any given deliverance [of revelation] really is inspired; for that can only be established by reasoning. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], II) |
| 14769 | Only imagination can connect phenomena together in a rational way [Peirce] |
| Full Idea: We can stare stupidly at phenomena; but in the absence of imagination they will not connect themselves together in any rational way. | |
| From: Charles Sanders Peirce (Scientific Attitude and Fallibilism [1899], I) | |
| A reaction: The importance of this is its connection between imagination and 'rational' understanding. This is an important corrective to a crude traditional picture of the role of imagination. I would connect imagination with counterfactuals and best explanation. |
| 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. |
| 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! |
| 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. |