7 ideas
19369 | Lull's combinatorial art would articulate all the basic concepts, then show how they combine [Lull, by Arthur,R] |
Full Idea: Lull proposed a combinatorial art. He wanted to reconcile Islam and Christianity by articulating the basic concepts that their belief systems held in common, and then inventing a device that would allow these concepts to be combined. | |
From: report of Ramon (Ars Magna [1305]) by Richard T.W. Arthur - Leibniz 2 Intro | |
A reaction: Leibniz's Universal Characteristic was an attempt at continuing Lull's project. Lull's plan rested on Aristotle's categories. |
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. |
17366 | Virtually all modern views of speciation rest on relational rather than intrinsic features [Okasha] |
Full Idea: On all modern species concepts (except the phenetic), the property in virtue of which a particular organism belongs to one species rather than another is a relational rather than an intrinsic property of the organism. | |
From: Samir Okasha (Darwinian Metaphysics: Species and Essentialism [2002], p.201), quoted by Michael Devitt - Resurrecting Biological Essentialism 4 | |
A reaction: I am in sympathy with Devitt's attack on this view, for the same reason that I take relational explanations of almost anything (such as the mind) to be inadequate. We need to know the intrinsic features that enable the relations. |
19371 | Nine principles of God: goodness, greatness, eternity, power, wisdom, will, virtue, truth and glory [Lull, by Arthur,R] |
Full Idea: Lull restricted himself to only nine 'absolute principles' of God: goodness, greatness, eternity, power, wisdom, will, virtue, truth and glory | |
From: report of Ramon (Ars Magna [1305]) by Richard T.W. Arthur - Leibniz 2 'Combinatorics' | |
A reaction: Leibniz responded that God's perfections are infinite in number, and thus beyond human comprehension. Lull cut them down to nine, because he was designing a sort of conceptual logic that employed them. |