10 ideas
| 19395 | Philosophy is sanctified, because it flows from God [Leibniz] |
| Full Idea: Philosophy is sanctified by having its streams flow from the fountain of God's attributes. | |
| From: Gottfried Leibniz (A General Principle to Explain Laws of Nature [1687], p.69) |
| 19394 | Inequality can be brought infinitely close to equality [Leibniz] |
| Full Idea: Equality may be considered as an infinitely small inequality, and we may make inequality approach equality as much as we wish. | |
| From: Gottfried Leibniz (A General Principle to Explain Laws of Nature [1687], p.67) | |
| A reaction: An interesting response to David Lewis's brusque dismissal of the problem of identity, as all-or-nothing...end of story. |
| 12205 | There are two families of modal notions, metaphysical and epistemic, of equal strength [Edgington] |
| Full Idea: In my view, there are two independent families of modal notions, metaphysical and epistemic, neither stronger than the other. | |
| From: Dorothy Edgington (Two Kinds of Possibility [2004], Abs) | |
| A reaction: My immediate reaction is that epistemic necessity is not necessity at all. 'For all I know' 2 plus 2 might really be 95, and squares may also be circular. |
| 12207 | Metaphysical possibility is discovered empirically, and is contrained by nature [Edgington] |
| Full Idea: Metaphysical necessity derives from distinguishing things which can happen and things which can't, in virtue of their nature, which we discover empirically: the metaphysically possible, I claim, is constrained by the laws of nature. | |
| From: Dorothy Edgington (Two Kinds of Possibility [2004], §I) | |
| A reaction: She claims that Kripke is sympathetic to this. Personally I like the idea that natural necessity is metaphysically necessary (see 'Scientific Essentialism'), but the other way round comes as a bit of a surprise. I will think about it. |
| 12206 | Broadly logical necessity (i.e. not necessarily formal logical necessity) is an epistemic notion [Edgington] |
| Full Idea: So-called broadly logical necessity (by which I mean, not necessarily formal logical necessity) is an epistemic notion. | |
| From: Dorothy Edgington (Two Kinds of Possibility [2004], §I) | |
| A reaction: This is controversial, and is criticised by McFetridge and Rumfitt. Fine argues that 'narrow' (formal) logical necessity is metaphysical. Between them they have got rid of logical necessity completely. |
| 12208 | An argument is only valid if it is epistemically (a priori) necessary [Edgington] |
| Full Idea: Validity is governed by epistemic necessity, i.e. an argument is valid if and only if there is an a priori route from premises to conclusion. | |
| From: Dorothy Edgington (Two Kinds of Possibility [2004], §V) | |
| A reaction: Controversial, and criticised by McFetridge and Rumfitt. I don't think I agree with her. I don't see validity as depending on dim little human beings. |
| 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. |