7 ideas
| 8138 | Beware lest any man spoil you through philosophy [Paul] |
| Full Idea: Beware lest any man spoil you through philosophy. | |
| From: St Paul (12: Colossians [c.55], 2.8) | |
| A reaction: The same might be said of preaching. The two sorts of spoiling seem to be fanaticism and wickedness. While reason can lead to fanaticism, I believe (with Socrates) that it is unlikely to corrupt morally. |
| 16698 | Days exist, and yet they seem to be made up of parts which don't exist [Burley] |
| Full Idea: I grant that a successive being is composed out of non-beings, as is clear of a day, which is composed of non-entities. Some part of this day is past and some future, and yet this day is. | |
| From: Walter Burley (Commentary on 'Physics' [1325], III text 11,f.65rb), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 18.3 | |
| A reaction: The dilemma of Aristotle over time infected the scholastic attempt to give an account of successive entities. A day is a wonderfully elusive entity for a metaphysician. |
| 16690 | Unlike permanent things, successive things cannot exist all at once [Burley] |
| Full Idea: This is the difference between permanent and successive things: that a permanent thing exists all at once, or at least can exist all at once, whereas it is incompatible with a successive thing to exist all at once. | |
| From: Walter Burley (Commentary on 'Physics' [1325], III txt 11,f.65rb), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 18.1 | |
| A reaction: Permanent things sound like what are now called 'three-dimensional' objects, but scholastic 'entia successiva' are not the same as spacetime 'worms' or collections of temporal stages. |
| 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! |