6 ideas
| 19347 | Substance needs independence, unity, and stability (for individuation); also it is a subject, for predicates [Perkins] |
| Full Idea: For individuation, substance needs three properties: independence, to separate it from other things; unity, to call it one thing, rather than an aggregate; and permanence or stability over time. Its other role is as subject for predicates. | |
| From: Franklin Perkins (Leibniz: Guide for the Perplexed [2007], 3.1) | |
| A reaction: Perkins is describing the Aristotelian view, which is taken up by Leibniz. 'Substance' is not a controversial idea, if we see that it only means that the world is full of 'things'. It is an unusual philosopher wholly totally denies that. |
| 12468 | A state of affairs is only possible if there has been an actual substance to initiate it [Pruss] |
| Full Idea: Non-actual states of affairs are possible if there actually was a substance capable of initiating a causal chain, perhaps non-deterministic, that could lead to the state of affairs that we claim is possible. | |
| From: Alexander R. Pruss (The Actual and the Possible [2002]), quoted by Jonathan D. Jacobs - A Powers Theory of Modality §4.2 | |
| A reaction: This is roughly my view. There are far fewer possibilities in heaven and earth than are dreamt of in your philosophy, Horatio. Logical possibilities and fantasy possibilities are not real possibilities. |
| 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. |