3 ideas
| 16755 | The possible Aristotelian view that forms are real and active principles is clearly wrong [Fine,K, by Pasnau] |
| Full Idea: Aristotle seems to have a possible basis for the belief [in individual forms], namely that forms are real and active principles in the world, which is denied by any right-minded modern. | |
| From: report of Kit Fine (A Puzzle Concerning Matter and Form [1994], p.19) by Robert Pasnau - Metaphysical Themes 1274-1671 24.3 n8 | |
| A reaction: Pasnau says this is the view of forms promoted by the scholastics, whereas Aristotle's own view should be understood as 'metaphysical'. |
| 17613 | We should judge principles by the science, not science by some fixed principles [Zermelo] |
| Full Idea: Principles must be judged from the point of view of science, and not science from the point of view of principles fixed once and for all. Geometry existed before Euclid's 'Elements', just as arithmetic and set theory did before Peano's 'Formulaire'. | |
| From: Ernst Zermelo (New Proof of Possibility of Well-Ordering [1908], §2a) | |
| A reaction: This shows why the axiomatisation of set theory is an ongoing and much-debated activity. |
| 20444 | If paintings could be perfectly duplicated, it would be a multiple art form [Currie, by Bacharach] |
| Full Idea: Currie claims that, in principle, all art forms are multiple. A superxerox machine, duplicating a painting molecule by molecule, would show that paintings are singular only contingently. | |
| From: report of Gregory Currie (An Ontology of Art [1988]) by Sondra Bacharach - Arthur C. Danto 3 | |
| A reaction: This strikes me as correct. An original painting would then have the same status as the manuscript of a poem, giving it an authority, and being moving by its personal contact with the artist. But worth far less than current original paintings. |