6 ideas
| 12185 | Logical necessity is epistemic necessity, which is the old notion of a priori [Edgington, by McFetridge] |
| Full Idea: Edgington's position is that logical necessity is an epistemic notion: epistemic necessity which, she claims, is the old notion of the a priori. Like Kripke, she thinks this is two-way independent of metaphysical necessity. | |
| From: report of Dorothy Edgington (Epistemic and Metaphysical Possibility [1985]) by Ian McFetridge - Logical Necessity: Some Issues §1 | |
| A reaction: [her paper was unpublished] She hence thinks an argument can be logically valid, while metaphysically its conclusion may not follow. Dubious, though I think I favour the view that logical necessity is underwritten by metaphysical necessity. |
| 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! |
| 6570 | Imagine millions made happy on condition that one person suffers endless lonely torture [James] |
| Full Idea: Consider a case in which millions could be made permanently happy on the one simple condition that a certain lost soul on the far-off edge of things should lead a life of lonely torture. | |
| From: William James (The Will to Believe [1896], p.188), quoted by Robert Fogelin - Walking the Tightrope of Reason Ch.2 | |
| A reaction: This seems to be one of the earliest pinpointings of a key problem with utilitiarianism, which is that other values than happiness (in this case, fairness) seem to be utterly overruled. If we ignore fairness, why shouldn't we ignore happiness? |