9 ideas
| 24069 | Much metaphysical debate concerns what is fundamental, rather than what exists [Koslicki] |
| Full Idea: Some of the most important debates in metaphysics or ontology do not concern existential questions, but focus on questions of fundamentality. | |
| From: Kathrin Koslicki (Form, Matter and Substance [2018], 5 Intro) | |
| A reaction: In modern times we have added the structure of existence to the mere ontological catalogue, and this idea makes another important addition to our concept of metaphysics. She gives disagreement over tropes as an example. |
| 24065 | Structured wholes are united by the teamwork needed for their capacities [Koslicki] |
| Full Idea: A structured whole derives its unity from the way in which its parts interact with other parts to allow both the whole and its parts to manifest those of their capacities which require 'team work' among the parts. | |
| From: Kathrin Koslicki (Form, Matter and Substance [2018], Intro) | |
| A reaction: This is a culminating thesis of her book. She defends it at length. It looks like a nice theory for things which are lucky enough to have capacities involving teamwork. Does this mean a pebble can't be unified? She wants a dynamic view. |
| 24066 | The form explains kind, structure, unity and activity [Koslicki] |
| Full Idea: Hylomorphists tend to agree that the form (rather than matter) explains 1) kind membership, 2) structure, 3) unity, 4) characteristic activities. | |
| From: Kathrin Koslicki (Form, Matter and Substance [2018], 3.2.1) | |
| A reaction: [compressed; she explains each of them] Personally I would add continuity through change (statue/clay). Glad to see that kind membership is not part of the form. And what about explaining observed properties? Does form=essence? |
| 24067 | Hylomorphic compounds need an individual form for transworld identity [Koslicki] |
| Full Idea: It is difficult to see how forms could serve as cross-world identity principles for hylomorphic compounds, unless these forms are particular or individual entities. | |
| From: Kathrin Koslicki (Form, Matter and Substance [2018], 3.4.3) | |
| A reaction: This is a key part of her objection to treating the form as universal or generic. I agree with her view. |
| 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! |
| 16764 | The soul conserves the body, as we see by its dissolution when the soul leaves [Toletus] |
| Full Idea: Every accident of a living thing, as well as all its organs and temperaments and its dispositions are conserved by the soul. We see this from experience, since when that soul recedes, all these dissolve and become corrupted. | |
| From: Franciscus Toletus (Commentary on 'De Anima' [1572], II.1.1), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 24.5 | |
| A reaction: A nice example of observing a phenemonon, but not being able to observe the dependence relation the right way round. Compare Descartes in Idea 16763. |