6 ideas
| 6668 | If the present does not exist, then consciousness must be memory of the immediate past [Marshall] |
| Full Idea: Given the paradoxical nature of the 'present' moment, maybe we should understand ALL consciousness as memory, with the split second of the 'specious present' being very vivid and very brief memory, with the rest of the mind remembering in lower degrees. | |
| From: David Marshall (talk [2004]), quoted by PG - Db (ideas) | |
| A reaction: This strikes me as a highly plausible, and very illuminating remark. For the time paradox, see Ideas 1904 and 5102. Anyone researching consciousness in the brain should think about this, because it will just be a special sort of memory neurons. |
| 22186 | Mental modules are specialised, automatic, and isolated [Fodor, by Okasha] |
| Full Idea: Fodor argues that mental modules have three important featuresL 1) they are domain-specific, 2) their operation is mandatory, 3) they are informationally encapsulated. | |
| From: report of Jerry A. Fodor (The Modularity of Mind [1983]) by Samir Okasha - Philosophy of Science: Very Short Intro (2nd ed) 6 | |
| A reaction: Mandatory is interesting. When I hear an English sentence I can't decide not to process it. Modules cannot be too isolated or they couldn't participate in the team. Each one needs a comms manager. |
| 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. |