9 ideas
| 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. |
| 5122 | Maybe consequentialism is a critique of ordinary morality, rather than describing it [Harman] |
| Full Idea: Consequentialism may be put forward not as an attempt to capture intuitive folk morality but rather as a critique of ordinary tuitions. | |
| From: Gilbert Harman (Moral Philosophy meets social psychology [1999], 10.1) | |
| A reaction: It is certainly true that most people are concerned with why an action was performed, and (after initial anger) are prepared to forgive an unintended disaster. We have no moral objections to earthquakes, which have bad consequences. |
| 5123 | Maybe there is no such thing as character, and the virtues and vices said to accompany it [Harman] |
| Full Idea: It may be the case that there is no such thing as character, no ordinary character traits of the sort people think there are, none of the usual moral virtues and vices. | |
| From: Gilbert Harman (Moral Philosophy meets social psychology [1999], 10.1) | |
| A reaction: This would be a devastating fact for virtue theory, if it were true. I don't believe it. He thinks patterns of behaviour result from circumstances, but we give accurate and detailed pictures of people's characters (esp. in novels). |
| 5124 | If a person's two acts of timidity have different explanations, they are not one character trait [Harman] |
| Full Idea: If Herbert is disposed to not speak in history class (but not other subjects), and explanation of this is different from his avoidance of roller coaster rides, then these two dispositions are not special cases of a single character trait. | |
| From: Gilbert Harman (Moral Philosophy meets social psychology [1999], 10.2) | |
| A reaction: A basic Harman argument for denying the existence of character (and hence of virtues). I just say that character traits are more complex than his caricature of them. If I keep imagining disaster and humiliation for myself, that is a character trait. |
| 5125 | Virtue ethics might involve judgements about the virtues of actions, rather than character [Harman] |
| Full Idea: There are variants of virtue ethics that do not require character traits in the ordinary sense. For example, moral thinking might be explicated by appeal to judgements about whether particular actions are just or courageous or whatever. | |
| From: Gilbert Harman (Moral Philosophy meets social psychology [1999], 10.7.1.1) | |
| A reaction: A very interesting proposal (from Judith Jarvis Thomson). This would flatly reject Aristotle, and one presumes that the judgement about the virtue of the action would largely be a matter of pondering cultural conventions (or, perhaps, consequences). |
| 21240 | The truth about events always comes from the oppressed and disadvantaged [Sartre, by Bakewell] |
| Full Idea: Work out who is most oppressed and disadvantaged in the situation, and then adopt their version of events as the right one. If something is not true in the eyes of the least favoured, then it is not true. | |
| From: report of Jean-Paul Sartre (The Communists and Peace [1953], final part) by Sarah Bakewell - At the Existentialist Café 12 | |
| A reaction: A theory of social truth, rather than truth in general. A bit simplistic, but appealing. If you want to know the truth, ask the people involved. This is true of the Savoy Grill, as well as of homeless life. You must first care about the oppressed. |