7 ideas
| 23766 | Don't be tossed to and fro with every wind of doctrine, by cunning deceptive men [Paul] |
| Full Idea: Henceforth be no more children, tossed to and fro, and carried about with every wind of doctrine, by the sleight of men, and cunning craftiness, whereby they lie in wait to deceive. | |
| From: St Paul (10: Ephesians [c.55], 4:14) | |
| A reaction: One quoted to me by a learned religious friend, in response to Idea 23767. I sympathise. I find it extraordinary the nonsense that students of philosophy can be led into, when they swallow some specious argument. |
| 17950 | The logos enables us to track one particular among a network of objects [Nehamas] |
| Full Idea: The logos (the definition) is a summary statement of the path within a network of objects that one will have to follow in order to locate a particular member of that network. | |
| From: Alexander Nehamas (Episteme and Logos in later Plato [1984], p.234) | |
| A reaction: I like this because it confirms that Plato (as well as Aristotle) was interested in the particulars rather than in the kinds (which I take to be general truths about particulars). |
| 17951 | A logos may be short, but it contains reference to the whole domain of the object [Nehamas] |
| Full Idea: A thing's logos, apparently short as it may be, is implicitly a very rich statement since it ultimately involves familiarity with the whole domain to which that particular object belongs. | |
| From: Alexander Nehamas (Episteme and Logos in later Plato [1984], p.234) | |
| A reaction: He may be wrong that the logos is short, since Aristotle (Idea 12292) says a definition can contain many assertions. |
| 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. |