9 ideas
| 14633 | How do we tell a table's being contingently plastic from its being essentially plastic? [Jackson] |
| Full Idea: On a friendly reading of Quine, there is nothing to make the difference between a table's being contingently plastic and its being essentially plastic. | |
| From: Frank Jackson (Possible Worlds and Necessary A Posteriori [2010], 5) | |
| A reaction: This is, of course, the dreaded modern usage of 'essential' to just mean 'necessary' and nothing more. In my view, there may be a big problem with knowing whether a problem is necessary, but knowing whether it is essential is much easier. |
| 14635 | An x is essentially F if it is F in every possible world in which it appears [Jackson] |
| Full Idea: On the possible world's account, x's being essentially F is nothing more nor less than x's being F in every world in which it appears. | |
| From: Frank Jackson (Possible Worlds and Necessary A Posteriori [2010], 6) | |
| A reaction: There you go - 'true in every possible world' is the definition of metaphysical necessity, not the definition of essence. Either get back to Aristotle, or stop (forever!) talking about 'essence'! |
| 14632 | Quine may have conflated de re and de dicto essentialism, but there is a real epistemological problem [Jackson] |
| Full Idea: The unfriendly response to Quine's objection to essentialism is that it conflates the de re and the de dicto. The friendly response is that behind that conflation is a real epistemological problem for essentialism. | |
| From: Frank Jackson (Possible Worlds and Necessary A Posteriori [2010], 1) | |
| A reaction: He cites Richard Cartwright 1968 for the friendly response. The epistemological question is how we can know the essentialness of an essence. |
| 14631 | How can you show the necessity of an a posteriori necessity, if it might turn out to be false? [Jackson] |
| Full Idea: If something is offered as a candidate necessary a posteriori truth, how could we show that it is necessary, in the face of the fact that it takes investigation to show that it is true, and so, in some sense, it might have turned out to be false? | |
| From: Frank Jackson (Possible Worlds and Necessary A Posteriori [2010], 1) | |
| A reaction: This is the topic of his paper, which he compares with how we can know that essences are essential. |
| 18278 | Kant showed that our perceptions are partly constructed from our concepts [Reichenbach] |
| Full Idea: It was Kant's great discovery that the object of knowledge is not simply given but constructed, and that it contains conceptual elements not contained in pure perception. | |
| From: Hans Reichenbach (The Theory of Relativity and A Priori Knowledge [1965], p.49), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap |
| 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! |