6 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? |
| 11968 | The intension of a sentence is the set of all possible worlds in which it is true [Carnap, by Kaplan] |
| Full Idea: Carnap's proposal is to understand the category of intensions appropriate to sentences (his 'propositions') as sets of possible worlds. The intension of the sentence is taken as the set of all possible worlds in which the sentence is true. | |
| From: report of Rudolph Carnap (Meaning and Necessity [1947]) by David Kaplan - Transworld Heir Lines p.90 | |
| A reaction: [reference?] This extension of the truth-conditions view of meaning strikes me as being very attractive. Except that whole worlds hardly seem to be relevant to my remark about how lunch might have been improved. |
| 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! |