7 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. |
| 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! |
| 20544 | Berlin distinguishes 'negative' and 'positive' liberty, and rejects the latter [Berlin, by Swift] |
| Full Idea: Isaiah Berlin draws a famous distinction between 'negative' and 'positive' concepts of liberty, and argues that the latter should be seen as a wrong turning (because totalitarian regimes have invoked it). | |
| From: report of Isaiah Berlin (Two Concepts of Liberty [1958]) by Adam Swift - Political Philosophy (3rd ed) 2 'Intro' | |
| A reaction: Swift argues against him, saying that positive liberty is not a single concept (it's three), and has aspects that should be defended. I think I'm with Swift on that. Is religious freedom a freedom 'from' something, or a freedom 'to do' something? |
| 20696 | We can approach knowledge of God by negative attributes [Maimonides] |
| Full Idea: You will come nearer to the knowledge and comprehension of God by the negative attributes. | |
| From: Moses Maimonides (The Guide of the Perplexed [1190], p.86), quoted by Brian Davies - Introduction to the Philosophy of Religion 2 'Negation' | |
| A reaction: Illustrated by grasping what a ship is by eliminating other categories it might belong to. The assumption is that you have a known and finite list - something like Aristotle's categories. Maimonides fears we know too little for positive attributes. |
| 19085 | Thinking of God as resembling humans results from a bad translation of Genesis 1:26 [Maimonides] |
| Full Idea: Mistranslation of 'image' has been the cause of a crass anthropomorphism because of the verse 'Let us make man in Our image after Our likeness' (Gen.1:26). They think God has the shape and outline of man, ..with face and hands like themselves. | |
| From: Moses Maimonides (The Guide of the Perplexed [1190], I.1) | |
| A reaction: It's interesting that Michelangelo still visualises God as an old man. The idea won't go away, presumably because God is understood as a 'person', in Locke's sense, though of a very special kind. |