6 ideas
| 22013 | Subjects distinguish representations, as related both to subject and object [Reinhold] |
| Full Idea: In consciousness the subject distinguishes the representation from the subject and object, and relates it to both. | |
| From: Karl Leonhard Reinhold (Foundations of Philosophical Knowledge [1791], p.78), quoted by Terry Pinkard - German Philosophy 1760-1860 04 | |
| A reaction: This is a reminder that twentieth century analytic discussions of perception were largely recapitulating late Enlightenment German philosophy. This is a very good definition of sense-data. I can think about my representations. Reinhold was a realist. |
| 12729 | The cause of a change is not the real influence, but whatever gives a reason for the change [Leibniz] |
| Full Idea: That thing from whose state a reason for the changes is most readily provided is adjudged to be the cause. ...Causes are not derived from a real influence, but from the providing of a reason. | |
| From: Gottfried Leibniz (Specimen inventorum [1689], A6.4.1620), quoted by Daniel Garber - Leibniz:Body,Substance,Monad 5 | |
| A reaction: Leibniz is not denying that there are real influences. He seems to be offering the thesis which I am pursuing, that the need for explanation is the crucial factor in shaping the structure of our metaphysics. |
| 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. |