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13750
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Analysis aims at the structure of facts, which are needed to give a rationale to analysis [Urmson, by Schaffer,J]
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Full Idea:
Urmson explains the direction of analysis as 'towards a structure...more nearly similar to the structure of the fact', adding that this metaphysical picture is needed as a 'rationale of the practice of analysis'.
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From:
report of J.O. Urmson (Philosophical Analysis [1956], p.24-5) by Jonathan Schaffer - On What Grounds What n30
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A reaction:
In other words, only realists can be truly motivated to keep going with analysis. Merely analysing language-games is doable, but hardly exciting.
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20420
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The emotion expressed is non-conscious, but feels oppressive until expression relieves it [Collingwood]
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Full Idea:
The emotion expressed is one of whose nature the person feeling it is no longer conscious. As unexpressed, he feels it in a helpless and oppressed way; as expressed, the oppression has vanished. His mind is somehow lightened and eased.
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From:
R.G. Collingwood (The Principles of Art [1938], p.110), quoted by Gary Kemp - Croce and Collingwood 1
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A reaction:
It sounds like the regular smoking of cigarettes. This is Collingwood answer the doubts I felt about Idea 20419. I would have thought the desire of Picasso was to create another painting, but not to express yet another new oppressive feeling.
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20421
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Art exists ideally, purely as experiences in the mind of the perceiver [Collingwood, by Kemp]
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Full Idea:
For Collingwood (and Croce) the work of art is an ideal object; …they are things that exist only in the mind, that is, only when one perceives. …The physical work exists to make this experience available.
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From:
report of R.G. Collingwood (The Principles of Art [1938]) by Gary Kemp - Croce and Collingwood 2
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A reaction:
This means that the paintings in a gallery cease to be works of art when the gallery is shut, which sounds odd. I suppose 'work of art' is ambiguous, between the experience (right) and the facilitator of the experience (wrong).
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