10 ideas
| 4988 | Folk psychology may not be reducible, but that doesn't make it false [Kirk,R on Churchland,PM] |
| Full Idea: It may well be that completed neuroscience will not include a reduction of folk psychology, but why should that be a reason to regard it as false? It would only be a reason if irreducibility entailed that they could not possibly both be true. | |
| From: comment on Paul M. Churchland (Eliminative Materialism and Prop. Attitudes [1981]) by Robert Kirk - Mind and Body §3.9 | |
| A reaction: If all our behaviour had been explained by a future neuro-science, this might not falsify folk psychology, but it would totally marginalise it. It is still possible that dewdrops are placed on leaves by fairies, but this is no longer a hot theory. |
| 4987 | Eliminative materialism says folk psychology will be replaced, not reduced [Churchland,PM] |
| Full Idea: Eliminative materialism says our common-sense conception of psychological phenomena is a radically false theory, so defective that both the principles and the ontology of that theory will eventually be displaced (rather than reduced). | |
| From: Paul M. Churchland (Eliminative Materialism and Prop. Attitudes [1981], Intro) | |
| A reaction: It is hard to see what you could replace the idea of a 'belief' with in ordinary conversation. We may reduce beliefs to neuronal phenomena, but we can't drop the vocabulary of the macro-phenomena. The physics of weather doesn't eliminate 'storms'. |
| 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! |
| 13554 | True greatness is never allowing events to disturb you [Seneca] |
| Full Idea: There is no more reliable proof of greatness than to be in a state where nothing can happen to make you disturbed. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §06) | |
| A reaction: He specifically opposes Aristotle's view that there are times when anger is appropriate, and failure to be very angry indeed is a failure of character. |
| 13556 | Every night I critically review how I have behaved during the day [Seneca] |
| Full Idea: When the lamp has been removed from my sight, and my wife, no stranger now to my habit, has fallen silent, I examine the whole of my day and retrace my actions and words; I hide nothing from myself. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §36) |
| 13552 | Anger is an extreme vice, threatening sanity, and gripping whole states [Seneca] |
| Full Idea: Other vices drive the mind on, anger hurls it headlong; ..other vices revolt from good sense, this one from sanity; ...other vices seize individuals, this is the one passion that sometimes takes hold of an entire state. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §01) | |
| A reaction: He particularly dislikes anger because it is the vice that leads to violence. |
| 13553 | Anger is a vice which afflicts good men as well as bad [Seneca] |
| Full Idea: Other vile passions affect only the worst sort of men, but anger creeps up even on enlightened me who are otherwise sane. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §04) | |
| A reaction: A very interesting observation for anyone who is trying to analyse the key issues in virtue theory. |