11 ideas
| 16078 | Clay is intrinsically and atomically the same as statue (and that lacks 'modal properties') [Rudder Baker] |
| Full Idea: Arguments for statue being the clay are: that the clay is intrinsically like the statue, that the clay has the same atoms as the statue', that objects don't have modal properties such as being necessarily F, and the reference of 'property' changes. | |
| From: Lynne Rudder Baker (Why Constitution is not Identity [1997], II) | |
| A reaction: [my summary of the arguments she identifies - see text for details] Rudder Baker attempts to refute all four of these arguments, in defence of constitution as different from identity. |
| 16077 | The clay is not a statue - it borrows that property from the statue it constitutes [Rudder Baker] |
| Full Idea: I argue that a lump of clay borrows the property of being a statue from the statue. The lump is a statue because, and only because, there is something that the lump constitutes that is a statue. | |
| From: Lynne Rudder Baker (Why Constitution is not Identity [1997], n9) | |
| A reaction: It is skating on very thin metaphysical ice to introduce the concept of 'borrowing' a property. I've spent the last ten minutes trying to 'borrow' some properties, but without luck. |
| 16080 | Is it possible for two things that are identical to become two separate things? [Rudder Baker] |
| Full Idea: A strong intuition shared by many philosophers is that some things that are in fact identical might not have been identical. | |
| From: Lynne Rudder Baker (Why Constitution is not Identity [1997], IV) | |
| A reaction: This flies in the face of the Kripkean view that if Hesperus=Phosphorus then the identity is necessary. I don't think I have an intuition that some given thing might have been two things - indeed the thought seems totally weird. Amoeba? Statue/clay? |
| 16082 | Statues essentially have relational properties lacked by lumps [Rudder Baker] |
| Full Idea: The statue has relational properties which the lump of clay does not have essentially. | |
| From: Lynne Rudder Baker (Why Constitution is not Identity [1997], V) | |
| A reaction: She has in mind relations to the community of artistic life. I don't think this is convincing. Is something only a statue if it is validated by an artistic community? That sounds like relative identity, which she doesn't like. |
| 16076 | Constitution is not identity, as consideration of essential predicates shows [Rudder Baker] |
| Full Idea: I want to resuscitate an essentialist argument against the view that constitution is identity, of the form 'x is essentially F, y is not essentially F, so x is not y'. | |
| From: Lynne Rudder Baker (Why Constitution is not Identity [1997], Intro) | |
| A reaction: The point is that x might be essentially F and y only accidentally F. Thus a statue is essentially so, but a lump if clay is not essentially a statue. Another case where 'necessary' would do instead of 'essentially'. |
| 16081 | The constitution view gives a unified account of the relation of persons/bodies, statues/bronze etc [Rudder Baker] |
| Full Idea: Constitution-without-identity is superior to constitution-as-identity in that it provides a unified view of the relation between persons and bodies, statues and pieces of bronze, and so on. | |
| From: Lynne Rudder Baker (Why Constitution is not Identity [1997], IV) | |
| A reaction: I have a problem with the intrinsic dualism of this whole picture. Clay needs shape, statues need matter - there aren't two 'things' here which have a 'relation'. |
| 3061 | Anaxarchus said that he was not even sure that he knew nothing [Anaxarchus, by Diog. Laertius] |
| Full Idea: Anaxarchus said that he was not even sure that he knew nothing. | |
| From: report of Anaxarchus (fragments/reports [c.340 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.10.1 |
| 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. |
| 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! |
| 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. |