8 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. |
| 9089 | Knowledge is a quality existing subjectively in the soul [William of Ockham] |
| Full Idea: Knowledge is a certain quality which exists in the soul as its subject ('existens subiective in anima'). | |
| From: William of Ockham (Expositio super viii libros [1340], Prologue) | |
| A reaction: One might say here that knowledge is a property, and so it might not be susceptible to further analysis. It invites the question of how you could know by introspection that you have got it, which would be an extreme internalist view. |
| 9091 | Sometimes 'knowledge' just concerns the conclusion, sometimes the whole demonstration [William of Ockham] |
| Full Idea: Sometimes 'knowledge' means evident cognition of the conclusion alone, sometimes of the demonstration as a whole. | |
| From: William of Ockham (Expositio super viii libros [1340], Prologue) | |
| A reaction: 'Demonstration' will be something like Greek 'logos' - full understanding, ability to explain and give reasons. William is certainly right about normal usage. I know the answer in a quiz, without any requirement for justifications. |
| 9090 | Knowledge is certain cognition of something that is true [William of Ockham] |
| Full Idea: Knowledge is certain cognition of something that is true. | |
| From: William of Ockham (Expositio super viii libros [1340], Prologue) | |
| A reaction: This view has problems. William is not facing up to the sceptical questions which can shake any degree of certainty, and also that someone who lacked self-confidence might know many things while always feeling uncertain about them. 'Cognition' must go! |
| 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. |