14 ideas
| 11178 | The essence or definition of an essence involves either a class of properties or a class of propositions [Fine,K] |
| Full Idea: If each object has a unique essence or definition, this may be identified with either the class of properties that it essentially has, or with the class of propositions that are true in virtue of what it is. | |
| From: Kit Fine (Senses of Essence [1995], §8) | |
| A reaction: Elsewhere Fine says that it is easier to work with the propositions view, but that the properties (or predicates) view is probably more fundamental. He goes on here to raise the question of whether either view makes the essence unique. |
| 11175 | Logical concepts rest on certain inferences, not on facts about implications [Fine,K] |
| Full Idea: The nature of the logical concepts is given, not by certain logical truths, but by certain logical inferences. What properly belongs to disjunction is the inference from p to (p or q), rather than the fact that p implies (p or q). | |
| From: Kit Fine (Senses of Essence [1995], §3) | |
| A reaction: Does this mean that Fine is wickedly starting with the psychology, rather than with the pure truth of the connection? Frege is shuddering. This view seems to imply that the truth table for 'or' is secondary. |
| 11176 | The property of Property Abstraction says any suitable condition must imply a property [Fine,K] |
| Full Idea: According to the principle of Property Abstraction, there is, for any suitable condition, a property that is possessed by an object just in case it conforms to the condition. This is usually taken to be a second-order logical truth. | |
| From: Kit Fine (Senses of Essence [1995], §4) | |
| A reaction: Fine objects that it is implied that if Socrates is essentially a man, then he essentially has the property of being a man. Like Fine, I think this conclusion is distasteful. A classification is not a property, at least the way most people use 'property'. |
| 11174 | A logical truth is true in virtue of the nature of the logical concepts [Fine,K] |
| Full Idea: One wants to define a logical truth as one that is true in virtue of the nature of the logical concepts. | |
| From: Kit Fine (Senses of Essence [1995], §3) | |
| A reaction: This is part of Fine's project to give a revised account of essence, which includes the essence of concepts as well as the essence of objects. Everyone should pay close attention to this project. |
| 21226 | Husserl sees the ego as a monad, unifying presence, sense and intentional acts [Husserl, by Velarde-Mayol] |
| Full Idea: Husserl's notion of monad expresses a complete inegration of every intentional presence into its sense, and every sense into the intentional acts, ....and finally every intentional act is integrated into the ego. | |
| From: report of Edmund Husserl (Cartesian Meditations [1931]) by Victor Velarde-Mayol - On Husserl 4.6.2 | |
| A reaction: No, I don't understand that either, but it makes good sense to employ the concept of a 'monad' into the concept of the ego, if you think it embodies perfect unity. That was a main motivation for Leibniz to employ the word. |
| 11177 | Can the essence of an object circularly involve itself, or involve another object? [Fine,K] |
| Full Idea: Can the essence of an object (ineliminably) involve that object itself (perhaps through self-identity, giving a direct circularity), or have an indirect circularity involving two or more objects (such as admiration between Watson and Holmes). | |
| From: Kit Fine (Senses of Essence [1995], §7) | |
| A reaction: [compressed] This looks like one of the basic questions which any theory of essentialism must address. |
| 11173 | Being a man is a consequence of his essence, not constitutive of it [Fine,K] |
| Full Idea: If we distinguish 'constitutive' from 'consequential' essence, ..then the essence of Socrates will, in part, be constituted by his being a man. But being a man (or a mountain) will merely be consequential upon, and not constitutive of, his essence. | |
| From: Kit Fine (Senses of Essence [1995], §3) | |
| A reaction: Yes yes yes. I think it is absurd to say that the class to which something belongs is part of its essential nature, given that it presumably can only belong to the class if it already has a certain essential nature. What did Frankenstein construct? |
| 11179 | If there are alternative definitions, then we have three possibilities for essence [Fine,K] |
| Full Idea: If there are alternative definitions for an essence, we must distinguish three notions. There is the essence as the manifold (the combined definitions), or as the range of alternative definitions (with component essences), or there is the common essence. | |
| From: Kit Fine (Senses of Essence [1995], §8) | |
| A reaction: Fine opts for the third alternative (what the definitions all have in common) as the best account. He says (p.68) 'definitive' properties come from one definition, and 'essential' properties from every possible definition. |
| 21228 | Husserl's monads (egos) communicate, through acts of empathy. [Husserl, by Velarde-Mayol] |
| Full Idea: For Husserl monads have windows because they communicate with each other. The windows of the monads are the acts of empathy. | |
| From: report of Edmund Husserl (Cartesian Meditations [1931]) by Victor Velarde-Mayol - On Husserl 4.7.5 | |
| A reaction: Leibniz said his monads (which include minds) have 'no windows'. The mere existence of empathy (or mirror neurons, as we would say) is hardly sufficient to defeat solipsism. |
| 21225 | The psychological ego is worldly, and the pure ego follows transcendental reduction [Husserl, by Velarde-Mayol] |
| Full Idea: Husserl distinguishes two sorts of egos or subjects of experience, the psychological ego and the pure ego. The psychological ego is a reality of the world, and the pure ego is a result of transcendental reduction. | |
| From: report of Edmund Husserl (Cartesian Meditations [1931]) by Victor Velarde-Mayol - On Husserl 4.6.1 | |
| A reaction: The sounds like embracing both the Cartesian and the Kantian egos. This is obviously the source of Sartre's interesting early book on the self. 'Transcendental reduction' is his bracketing or epoché. |
| 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! |