6 ideas
| 19284 | Asserting a necessity just expresses our inability to imagine it is false [Blackburn] |
| Full Idea: To say that we dignify a truth as necessary we are expressing our own mental attitudes - our own inability to make anything of a possible way of thinking which denies it. It is this blank unimaginability which we voice when we use the modal vocabulary. | |
| From: Simon Blackburn (Spreading the Word [1984], 6.5) | |
| A reaction: Yes, but why are we unable to imagine it? I accept that the truth or falsity of Goldbach's Conjecture may well be necessary, but I have no imagination one way or the other about it. Philosophers like Blackburn are very alien to me! |
| 4316 | Either all action is rational, or reason dominates, or reason is only concerned with means [Cottingham] |
| Full Idea: We can distinguish rational exclusivism (all activity is guided by reason - Plato and Spinoza), rational hegemonism (all action is dominated by reason), and rational instrumentalism (reason assesses means rather than ends - Hume). | |
| From: John Cottingham (Reason, Emotions and Good Life [2000]) | |
| A reaction: The idea that reason is the only cause of actions seems deeply implausible, but I strongly resist Hume's instrumental approach. Action without desire is not a contradiction. |
| 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. |