6 ideas
| 10009 | Substitutional quantification is just a variant of Tarski's account [Wallace, by Baldwin] |
| Full Idea: In a famous paper, Wallace argued that all interpretations of quantifiers (including the substitutional interpretation) are, in the end, variants of that proposed by Tarski (in 1936). | |
| From: report of Wallace, J (On the Frame of Reference [1970]) by Thomas Baldwin - Interpretations of Quantifiers | |
| A reaction: A significant-looking pointer. We must look elsewhere for Tarski's account, which will presumably subsume the objectual interpretation as well. The ontology of Tarski's account of truth is an enduring controversy. |
| 8130 | Qualities of experience are just representational aspects of experience ('Representationalism') [Harman, by Burge] |
| Full Idea: Harman defended what came to be known as 'representationalism' - the view that qualitative aspects of experience are nothing other than representational aspects. | |
| From: report of Gilbert Harman (The Intrinsic Quality of Experience [1990]) by Tyler Burge - Philosophy of Mind: 1950-2000 p.459 | |
| A reaction: Functionalists like Harman have a fairly intractable problem with the qualities of experience, and this may be clutching at straws. What does 'represent' mean? How is the representation achieved? Why that particular quale? |
| 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! |