6 ideas
| 3449 | If parallelism is true, how does the mind know about the body? [Crease] |
| Full Idea: In parallelism, the idea that we have a body is like an astronaut hearing shouting on the moon, and reasoning that as this is impossible he must be simultaneously imagining shouting AND there is real shouting taking place! | |
| From: Jason Crease (works [2001]), quoted by PG - Db (ideas) | |
| A reaction: This seems to capture the absurdity of Leibniz's proposal. I experience what my brain is doing, but not because my brain is doing it. I would never know if God had made a slight error in setting His two 'clocks'; their accuracy is just a pious hope. |
| 4316 | Either all action is rational, or reason dominates, or reason is only concerned with means [Cottingham] |
| Full Idea: We can distinguish rational exclusivism (all activity is guided by reason - Plato and Spinoza), rational hegemonism (all action is dominated by reason), and rational instrumentalism (reason assesses means rather than ends - Hume). | |
| From: John Cottingham (Reason, Emotions and Good Life [2000]) | |
| A reaction: The idea that reason is the only cause of actions seems deeply implausible, but I strongly resist Hume's instrumental approach. Action without desire is not a contradiction. |
| 20440 | Art is a referential activity, hence indefinable, but it has a set of symptoms [Goodman] |
| Full Idea: No definition of art is possible (since it is a referential activity), …but the symptoms of art are syntactic density, semantic density, syntactic repleteness, exemplificationality, and multiple and complex reference. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.22-255), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: I wish these labels were more self-explanatory. Goodman seems to want to assimilate art to his earlier interests in linguistic anti-realism and mereology. I wouldn't have thought he now had many followers. |
| 20439 | Artistic symbols are judged by the fruitfulness of their classifications [Goodman, by Giovannelli] |
| Full Idea: Artistic symbols are to be judged for the classifications they bring about, for how novel and insightful those classifications are, for how they change our world perceptions and relations. | |
| From: report of Nelson Goodman (Languages of Art (2nd edn) [1968]) by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: This seems to be an awfully long way from our normal experience of art. I understand 'symbols' in early Flemish art, but not in Mondriaan, or even Rembrandt. |
| 20438 | A performance is only an instance of a work if there is not a single error [Goodman] |
| Full Idea: The most miserable performance without actual mistakes does count as an instance of a work, …but the most brilliant performance with a single wrong note does not. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.186), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) | |
| A reaction: Mereological essentialism applied to art! You need to be a highly theoretical and technical philosopher (which Goodman was) to maintain such a weird and contrary-usage proposal. |
| 20437 | A copy only becomes an 'instance' of an artwork if there is a system of notation [Goodman] |
| Full Idea: Paintings and sculptures do not work within a notation; hence, there is no copying of an original that would preserve its originality. A copy of a painting is a copy, not an instance of the original. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.212), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 2 | |
| A reaction: Sounds conclusive, but isn't. Is a poetry manuscript a 'notation' or an original? Why is an etching plate a notation, but painting on canvas is an original? Can I create a painting specifically so that it can be copied (by my students)? Intention matters. |