11 ideas
| 15642 | If kinds depend only on what can be observed, many underlying essences might produce the same kind [Eagle] |
| Full Idea: If the kinds there are depend not on the essences of the objects but on their observed distinguishing particulars, ...then for any kind that we think there is, it is possible that there are many underlying essences which are observably indistinguishable. | |
| From: Antony Eagle (Locke on Essences and Kinds [2005], IV) | |
| A reaction: Eagle is commenting on Locke's reliance on nominal essences. This seems to be the genuine problem with jadeite and nephrite (both taken to be 'jade'), or with 'fool's gold'. This isn't an objection to Locke; it just explains the role of science. |
| 15645 | Nominal essence are the observable properties of things [Eagle] |
| Full Idea: It is clear the nominal essences really are the properties of the things which have them: they are (a subset of) the observable properties of the things. | |
| From: Antony Eagle (Locke on Essences and Kinds [2005], IV) | |
| A reaction: I think this is wrong. The surface characteristics are all that is available to us, so our classifications must be based on those, but it is on the ideas of them, not their intrinsic natures. That is empiricsm! What makes the properties 'essential'? |
| 15643 | Nominal essence mistakenly gives equal weight to all underlying properties that produce appearances [Eagle] |
| Full Idea: Nominal essence does not allow for gradations in significance for the underlying properties. Those are all essential for the object behaving as it observably does, and they must all be given equal weight when deciding what the object does. | |
| From: Antony Eagle (Locke on Essences and Kinds [2005], IV) | |
| A reaction: This is where 'scientific' essentialism comes in. If we take one object, or one kind of object, in isolation, Eagle is right. When we start to compare, and to set up controlled conditions tests, we can dig into the 'gradations' he cares about. |
| 6455 | Maybe 'sense-data' just help us to talk about unusual perceptual situations [Lacey] |
| Full Idea: One possibility is that talk of sense-data is a mere linguistic convenience, providing a noun for talking about appearances, as when seeing a red object in sodium light (when it looks grey). | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The term seems to have been coined to deal with situations where there is a gap between appearance and presumed reality, as in illusions. Maybe illusions prove the existence of sense-data, rather than it being a 'convenient' term. |
| 6454 | Where do sense-data begin or end? Can they change? What sort of thing are they? [Lacey] |
| Full Idea: It is hard to individuate sense-data, saying where one ends and the next begins, and hard to say whether they can change; are they substances, qualities, events, or what? | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The problem is not that these questions are unanswerable. The answer seems to be either that they are physical and external, or that they are mental and internal, and that there is no ontological space for them between the two. |
| 6453 | Some claim sense-data are public, and are parts of objects [Lacey] |
| Full Idea: Sometimes it is said that sense-data are public, and parts either of objects or of the surfaces of objects. | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: This suggests two drastically different theories, one making sense-data into mental events, the other placing them in the 'external' world. The latter theory can dovetail them with the physics, but then why would we need them? |
| 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! |
| 15641 | Kinds are fixed by the essential properties of things - the properties that make it that kind of thing [Eagle] |
| Full Idea: The natural thought is to think that real kinds are given only by classification on the basis of essential properties: properties that make an object the kind of thing that it is. | |
| From: Antony Eagle (Locke on Essences and Kinds [2005], II) | |
| A reaction: Circularity alert! Circularity alert! Essence gives a thing its kind - and hence we can see what the kind is? Test for a trivial property! Eagle is not unaware of these issues. Does he mean 'necessary' rather than 'essential'? |