7 ideas
| 19393 | What is not active is nothing [Leibniz] |
| Full Idea: We can now show from the inner truths of metaphysics that what is not active is nothing. | |
| From: Gottfried Leibniz (True Method in Philosophy and Theology [1686], p.64) | |
| A reaction: This is Leibniz's rebellion against the Cartesian idea that all that matters for natural existence is spatial extension. I agree (tentatively) with Leibniz's vision of nature here. Modern physics reveals a seething turmoil beneath the placid exterior. |
| 594 | Speusippus suggested underlying principles for every substance, and ended with a huge list [Speussipus, by Aristotle] |
| Full Idea: Speusippus suggested principles for each substance, including principles for numbers, magnitude and the soul. He thus arrived at no mean list of substances. | |
| From: report of Speussipus (thirty titles (lost) [c.367 BCE]) by Aristotle - Metaphysics 1028b |
| 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! |
| 2632 | Speusippus said things were governed by some animal force rather than the gods [Speussipus, by Cicero] |
| Full Idea: Speusippus, following his uncle Plato, held that all things were governed by some kind of animal force, and tried to eradicate from our minds any notion of the gods. | |
| From: report of Speussipus (thirty titles (lost) [c.367 BCE]) by M. Tullius Cicero - On the Nature of the Gods ('De natura deorum') I.33 |