8 ideas
| 8526 | We might treat both tropes and substances as fundamental, so we can't presume it is just tropes [Daly] |
| Full Idea: Since C.B. Martin accepts both tropes and substances as fundamental, the claim that tropes are the only fundamental constituents is a further, independent claim. | |
| From: Chris Daly (Tropes [1995], §4) | |
| A reaction: A dubious mode of argument. Martin may only make the claim because he is ignorant, of facts or of language. Why are some tropes perfectly similar? Is it the result of something more fundamental? |
| 8527 | More than one trope (even identical ones!) can occupy the same location [Daly] |
| Full Idea: More than one trope can occupy the same spatio-temporal location, and it even seems possible for a pair of exactly resembling tropes to occupy the same spatio-temporal location. | |
| From: Chris Daly (Tropes [1995], §6) | |
| A reaction: This may be the strongest objection to tropes. Being disc-shaped and red would occupy the same location. Aristotle's example of mixing white with white (Idea 557) would be the second case. Individuation of these 'particulars' is the problem. |
| 8528 | If tropes are linked by the existence of concurrence, a special relation is needed to link them all [Daly] |
| Full Idea: To explain how tropes form bundles, concurrence relations are invoked. But tropes F and G and a concurrence relation C don't ensure that F stands in C to G. So trope theory needs 'instantiation' relations (special relational tropes) after all. | |
| From: Chris Daly (Tropes [1995], §7) | |
| A reaction: Campbell presents relations as 'second-order' items dependent on tropes (Idea 8525), but that seems unclear. Daly's argument resembles Russell's (which he likes), that some sort of universal is inescapable. It also resembles Bradley's regress (7966). |
| 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! |
| 22254 | Economic capitalist liberty naturally leads to democratic political liberty [Novak] |
| Full Idea: The natural logic of capitalism leads to democracy. For economic liberties without political liberties are inherently unstable. | |
| From: Michael Novak (The Spirit of Democratic Capitalism [1982], p.15), quoted by David Conway - Capitalism and Community II | |
| A reaction: Not sure about 'inherently unstable'. Only in the sense that if you dish out economic liberties, people come to expect political liberties. China and Hong Kong are each currently facing this problem. Capitalist liberty can be highly restricted. |