6 ideas
| 19440 | How do you know you have conceived a thing deeply enough to assess its possibility? [Vaidya] |
| Full Idea: The main issue with learning possibility from conceivability concerns how we can be confident that we have conceived things to the relevant level of depth required for the scenario to actually be a presentation or manifestation of a genuine possibility. | |
| From: Anand Vaidya (The Epistemology of Modality [2015], 1.2.2) | |
| A reaction: [He cites Van Inwagen 1998 for this idea] The point is that ignorant imagination can conceive of all sorts of absurd things which are seen to be impossible when enough information is available. We can hardly demand a criterion for this. |
| 15666 | To understand language is to know how to use it to reach shared understandings [Habermas] |
| Full Idea: One simply would not know what it is to understand the meaning of a linguistic expression if one did not know how one could make use of it in order to reach understanding with someone about something. | |
| From: Jürgen Habermas (On the Pragmatics of Communications [1998], p.228), quoted by James Gordon Finlayson - Habermas Ch.3:34 | |
| A reaction: Not offered as a 'theory of meaning', and certainly plausible. Compare a hammer, though: a proper understanding is that it is used to exert a sharp force, but you can take in its structure and nature before you spot its usage. |
| 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! |