6 ideas
| 16718 | Primary qualities are the cause of all the other sensible qualities [Albertus Magnus] |
| Full Idea: The primary qualities of tangible things are the cause of all the other sensible qualities. | |
| From: Albertus Magnus (On 'Generation and Corruption' [1261], II.1.1), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 21.2 | |
| A reaction: This makes the primary qualities sound suspiciously like the essence. |
| 21932 | 'Différance' is the interwoven history of each sign [Derrida, by Glendinning] |
| Full Idea: What Derrida calls 'différance' can be understood as the movement through which every sign is 'constituted historically as a weave of differences'....This replacement for 'speech' in the 'origin' of the system is to avoid the circularity in structuralism. | |
| From: report of Jacques Derrida (Différance [1982]) by Simon Glendinning - Derrida: A Very Short Introduction 5 | |
| A reaction: [compressed] Struggling to grasp this. Some English words entirely change their meaning over time (e.g. buxom). Does the lost meaning remain part of the new meaning? If so, how? He also calls différance 'sameness which is not identical'. |
| 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. |