7 ideas
| 15946 | Cantor developed sets from a progression into infinity by addition, multiplication and exponentiation [Cantor, by Lavine] |
| Full Idea: Cantor's development of set theory began with his discovery of the progression 0, 1, ....∞, ∞+1, ∞+2, ..∞x2, ∞x3, ...∞^2, ..∞^3, ...∞^∞, ...∞^∞^∞..... | |
| From: report of George Cantor (Grundlagen (Foundations of Theory of Manifolds) [1883]) by Shaughan Lavine - Understanding the Infinite VIII.2 |
| 15911 | Ordinals are generated by endless succession, followed by a limit ordinal [Cantor, by Lavine] |
| Full Idea: Ordinal numbers are generated by two principles: each ordinal has an immediate successor, and each unending sequence has an ordinal number as its limit (that is, an ordinal that is next after such a sequence). | |
| From: report of George Cantor (Grundlagen (Foundations of Theory of Manifolds) [1883]) by Shaughan Lavine - Understanding the Infinite III.4 |
| 7566 | The Identity of Indiscernibles is really the same as the verification principle [Jolley] |
| Full Idea: Various writers have noted that the Identity of Indiscernibles is really tantamount to the verification principle. | |
| From: Nicholas Jolley (Leibniz [2005], Ch.3) | |
| A reaction: Both principles are false, because they are the classic confusion of epistemology and ontology. The fact that you cannot 'discern' a difference between two things doesn't mean that there is no difference. Things beyond verification can still be discussed. |
| 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! |