8 ideas
| 21953 | For Heidegger there is 'ontic' truth or 'uncoveredness', as in "he is a true friend" [Heidegger, by Wrathall] |
| Full Idea: We say things like 'he is a true friend'. Heidegger calls this kind of truth 'ontic truth' or the 'uncoveredness' of entities. | |
| From: report of Martin Heidegger (On the Essence of Truth [1935]) by Mark Wrathall - Heidegger: how to read 7 | |
| A reaction: [In his later essays] The example is very bad for showing a clear alternative meaning of 'true'. I presume it can only be explained in essentialist terms - an entity is 'true' if its appearance and behaviour conforms to its essence. |
| 14596 | Call 'nominalism' the denial of numbers, properties, relations and sets [Dorr] |
| Full Idea: Just as there are no numbers or properties, there are no relations (like 'being heavier than' or 'betweenness'), or sets. I will provisionally use 'nominalism' for the conjunction of these four claims. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 1) | |
| A reaction: If you are going to be a nominalist, do it properly! My starting point in metaphysics is strong sympathy with this view. Right now [Tues 22nd Nov 2011, 10:57 am GMT] I think it is correct. |
| 14597 | Natural Class Nominalism says there are primitive classes of things resembling in one respect [Dorr] |
| Full Idea: Natural Class Nominalists take as primitive the notion of a 'natural' class - a class of things that all resemble one another in some one respect and resemble nothing else in that respect. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 4) | |
| A reaction: Dorr rejects this view because he doesn't believe in 'classes'. How committed to classes do you have to be before you are permitted to talk about them? All vocabulary (such as 'resemble') seems metaphysically tainted in this area. |
| 14598 | Abstracta imply non-logical brute necessities, so only nominalists can deny such things [Dorr] |
| Full Idea: If there are abstract objects, there are necessary truths about these things that cannot be reduced to truths of logic. So only the nominalist, who denies that there are any such things, can adequately respect the idea that there are no brute necessities. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 4) | |
| A reaction: This is where two plates of my personal philosophy grind horribly against one another. I love nominalism, and I love natural necessities. They meet like a ring-species in evolution. I'll just call it a 'paradox', and move on (swiftly). |
| 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. |