9 ideas
| 8967 | Not all predicates can be properties - 'is non-self-exemplifying', for example [Lowe] |
| Full Idea: We cannot assume that every meaningful predicate necessarily expresses a property that some entity could possess. The predicate 'is non-self-exemplifying' is meaningful, yet it would be contradictory for there to be any such property. | |
| From: E.J. Lowe (Individuation [2003]) | |
| A reaction: This clinches what I would take to be a foregone conclusion - that you can't know what the world contains just by examining the predicates of the English language. However, I suppose predicates are needed to know properties. |
| 8965 | Neither mere matter nor pure form can individuate a sphere, so it must be a combination [Lowe] |
| Full Idea: A sphere's matter could not be what makes it one sphere, since matter lacks intrinsic unity, ..and the form cannot make it that very sphere, since an identical sphere may exemplify that universal. So it is a combination of form and matter. | |
| From: E.J. Lowe (Individuation [2003], 5) | |
| A reaction: But how do two aspects of the sphere, neither of which has the power to individuate, achieve individuation when they are combined? Like parents, I suppose. Two totally identical spheres can only be individuated by location. |
| 8968 | If the flagpole causally explains the shadow, the shadow cannot explain the flagpole [Lowe] |
| Full Idea: Two distinct entities cannot explain each other, in the same sense of 'explain'. If the height of the flagpole causally explains the length of the shadow, the shadow cannot explain the flagpole, though it may predict the latter. | |
| From: E.J. Lowe (Individuation [2003], 12) | |
| A reaction: This seems related to the question of the direction of time/causation. Some explanations can be benignly circular, as when a married couple have a passion for chinese food. [S.Bromberger 1966 invented the flagpole case]. |
| 5960 | When the soul is intelligent and harmonious, it is part of god and derives from god [Plutarch] |
| Full Idea: The soul, when it has partaken of intelligence and reason and concord, is not merely a work but also a part of god and has come to be not by his agency but both from him as source and out of his substance. | |
| From: Plutarch (67: Platonic Questions [c.85], II.1001) | |
| A reaction: A most intriguing shift of view from earlier concepts of the psuché. How did this come about? This man is a pagan. The history is in the evolution of Platonism. See 'The Middle Platonists' by John Dillon. Davidson is also very impressed by reason. |
| 8966 | Properties are facets of objects, only discussable separately by an act of abstraction [Lowe] |
| Full Idea: In no sense is a property a 'constituent' of an object: it is merely a 'facet' or 'aspect' of an object - something which we can talk about or think of separately from that object only by an act of abstraction. | |
| From: E.J. Lowe (Individuation [2003], 8) | |
| A reaction: This appears to be in tune with traditional abstractionism, even though Lowe is committed to the reality of universals. To what do I refer when I say 'I like your car, apart from its colour'? |
| 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! |