7 ideas
| 2945 | Most philosophers start with reality and then examine knowledge; Descartes put the study of knowledge first [Lehrer] |
| Full Idea: Some philosophers (e.g Plato) begin with an account of reality, and then appended an account of how we can know it, ..but Descartes turned the tables, insisting that we must first decide what we can know. | |
| From: Keith Lehrer (Theory of Knowledge (2nd edn) [2000], I p.2) |
| 2946 | You cannot demand an analysis of a concept without knowing the purpose of the analysis [Lehrer] |
| Full Idea: An analysis is always relative to some objective. It makes no sense to simply demand an analysis of goodness, knowledge, beauty or truth, without some indication of the purpose of the analysis. | |
| From: Keith Lehrer (Theory of Knowledge (2nd edn) [2000], I p.7) | |
| A reaction: Your dismantling of a car will go better if you know what a car is for, but you can still take it apart in ignorance. |
| 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! |
| 23689 | Moral words have an inherited power from expressing attitudes in emotional situations [Stevenson,CL] |
| Full Idea: A term is moral because of the power that the word acquires, on account of its history in emotional situations, to evoke or directly express attitudes, as distinct from describing or designating them. | |
| From: Charles Leslie Stevenson (Ethics and Language [1944], p.33), quoted by John Hacker-Wright - Philippa Foot's Moral Thought 1 'Ayer' | |
| A reaction: Invites the question of what the words meant before they acquired this patina of historical usage. If 'good' orginally meant 'hurray!', its repeated usage doesn't seem to change that. If it was descriptive, why would that change with time? |