9 ideas
| 23633 | Many truths seem obvious, and point to universal agreement - which is what we find [Reid] |
| Full Idea: There are many truths so obvious to the human faculties, that it should be expected that men should universally agree in them. And this is actually found to be the case with regard to many truths, against which we find no dissent. | |
| From: Thomas Reid (Essays on Intellectual Powers 1: Preliminary [1785], 2) | |
| A reaction: He says that a few sceptical philosophers may disagree. This is a nice statement of his creed of common sense. I agree with him, and Aristotle observes the same fact. |
| 23630 | Only philosophers treat ideas as objects [Reid] |
| Full Idea: The vulgar allow that an 'idea' implies a mind that thinks, an act of mind which we call thinking, and an object about which we think. But the philosopher conceives a fourth - the idea, which is the immediate object. …I believe this to be a mere fiction. | |
| From: Thomas Reid (Essays on Intellectual Powers 1: Preliminary [1785], 1) | |
| A reaction: Another example, to add to Yablo's list, of abstract objects invented by philosophers to fill holes in their theories. This one is illuminating, because we all say 'I've got an idea'. Cf discussions of the redundancy of truth. Cf propositions. |
| 23629 | The ambiguity of words impedes the advancement of knowledge [Reid] |
| Full Idea: There is no greater impediment to the advancement of knowledge than the ambiguity of words. | |
| From: Thomas Reid (Essays on Intellectual Powers 1: Preliminary [1785], 1) | |
| A reaction: He means that ambiguity leads to long pointless disagreements. |
| 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. |
| 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! |
| 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. |
| 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. |
| 23632 | Similar effects come from similar causes, and causes are only what are sufficient for the effects [Reid] |
| Full Idea: A first principle is that similar effects proceed from the same or similar causes; that we ought to admit of no other causes …but such as are sufficient to account for the effects. | |
| From: Thomas Reid (Essays on Intellectual Powers 1: Preliminary [1785], 2) | |
| A reaction: He treats these as a priori axioms of natural philosophy. In evolution similar causes seem to produce startlingly divergent effects, such as the mating needs of male birds. |