10 ideas
| 6841 | Some continental philosophers are relativists - Baudrillard, for example [Baudrillard, by Critchley] |
| Full Idea: There are philosophers in the continental tradition who are relativists - Baudrillard, for example. | |
| From: report of Jean Baudrillard (works [1976]) by Simon Critchley - Interview with Baggini and Stangroom p.192 | |
| A reaction: This remark is in the context of Critchley denying that most continental philosophers are relativists. |
| 12219 | Whether a modal claim is true depends on how the object is described [Quine, by Fine,K] |
| Full Idea: Quine says if ∃x□(x>7) makes sense, then for which object x is the condition rendered true? Specify it as '9' and it is apparently rendered true, specify it as 'the number of planets' and it is apparently rendered false. | |
| From: report of Willard Quine (Three Grades of Modal Involvement [1953]) by Kit Fine - Quine on Quantifying In p.105 | |
| A reaction: This is normally characterised as Quine saying that only de dicto involvement is possible, and not de re involvement. Or that that all essences are nominal, and cannot be real. |
| 10922 | Objects are the values of variables, so a referentially opaque context cannot be quantified into [Quine] |
| Full Idea: The objects of a theory are not properly describable as the things named by the singular terms; they are the values, rather, of the variables of quantification. ..So a referentially opaque context is one that cannot properly be quantified into. | |
| From: Willard Quine (Three Grades of Modal Involvement [1953], p.174) | |
| A reaction: The point being that you cannot accurately pick out the objects in the domain |
| 10923 | Aristotelian essentialism says a thing has some necessary and some non-necessary properties [Quine] |
| Full Idea: What Aristotelian essentialism says is that you can have open sentences Fx and Gx, such that ∃x(nec Fx.Gx.Źnec Gx). For example, ∃x(nec(x>5). there are just x planets. Źnec(there are just x planets)). | |
| From: Willard Quine (Three Grades of Modal Involvement [1953], p.176) | |
| A reaction: This is a denial of 'maximal essentialism', that all of a things properties might be essential. Quine is thus denying necessity, except under a description. He may be equivocating over the reference of 'there are just 9 planets'. |
| 10921 | Necessity can attach to statement-names, to statements, and to open sentences [Quine] |
| Full Idea: Three degrees necessity in logic or semantics: first and least is attaching a semantical predicate to the names of statements (as Nec '9>5'); second and more drastic attaches to statements themselves; third and gravest attaches to open sentences. | |
| From: Willard Quine (Three Grades of Modal Involvement [1953], p.158) |
| 10924 | Necessity is in the way in which we say things, and not things themselves [Quine] |
| Full Idea: Necessity resides in the way in which we say things, and not in the things we talk about. | |
| From: Willard Quine (Three Grades of Modal Involvement [1953], p.176) | |
| A reaction: This is a culminating idea of Quine's thoroughgoing empiricism, as filtered through logical positivism. I would hardly dare to accuse Quine of a use/mention confusion (his own bęte noir), but one seems to me to be lurking here. |
| 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! |