10 ideas
| 20349 | Metaphysics aims at the essence of things, and a system to show how this explains other truths [Richardson] |
| Full Idea: The core of metaphysics is an account of the 'essence' or 'being' of things. ...And metaphysics needs system, to show how these primary truths reach out into all the other truths, to help us see that, and how, they are true. | |
| From: John Richardson (Nietzsche's System [2002], Intro) | |
| A reaction: I like the phrase 'the essential nature' of things, because it doesn't invoke rather dodgy entities called 'essences', but everyone understands the idea of focusing on what is essential, and on things having a distinct 'nature'. |
| 20351 | Metaphysics needs systems, because analysis just obsesses over details [Richardson] |
| Full Idea: Metaphysics makes system a virtue, contrary to the tendency of analysis, which breaks a problem into ever finer parts and then absorbs itself in these. | |
| From: John Richardson (Nietzsche's System [2002], Intro) | |
| A reaction: I disagree, because it seems to rule out analytic metaphysics. I prefer Bertrand Russell's view. Admittedly analysis oftens gets stuck in the bog, especially if it hopes for salvation in logic, only to discover its certainties endlessly receding. |
| 20350 | Metaphysics generalises the data, to get at the ontology [Richardson] |
| Full Idea: The evidence lies at the periphery of the [metaphysical] system and runs in from there, through decreasingly specific accounts of the data, to the central ontology. | |
| From: John Richardson (Nietzsche's System [2002], Intro) | |
| A reaction: Philosophy is the study of high level generalisations, IMHO. Studying them means studying the reasons for asserting them. Richardson puts it very nicely. |
| 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! |
| 20356 | Humans dominate because, unlike other animals, they have a synthesis of conflicting drives [Richardson] |
| Full Idea: In contrast to the other animals, man has cultivated an abundance of contrary drives and impulses within himself: thanks to this synthesis, he is master of the earth. | |
| From: John Richardson (Nietzsche's System [2002], §966) | |
| A reaction: If this is true, it presents the fundamental challenge of politicial philosophy - to visual a successful social system for a creature which does not have a clear and focused nature. For Nietzsche, this 'synthesis' continually evolves. |
| 15664 | Ideology is 'socially necessary illusion' or 'socially necessary false-consciousness' [Adorno, by Finlayson] |
| Full Idea: Adorno defines ideology as 'socially necessary illusion' or 'socially necessary false-consciousness' (and the young Habermas accepted something like this definition). | |
| From: report of Theodor W. Adorno (works [1955]) by James Gordon Finlayson - Habermas Ch.1:11 | |
| A reaction: The marxism seems to reside in the view that such things are always 'false'. If they gradually became 'true', would they cease to be ideology? Is it impossible for widespread beliefs to be 'true'? |
| 20366 | A mind that could see cause and effect as a continuum would deny cause and effect [Richardson] |
| Full Idea: An intellect that could see cause and effect as a continuum and a flux, and not, as we do, in terms of an arbitrary division and dismemberment, would repudiate the concept of cause and effect. | |
| From: John Richardson (Nietzsche's System [2002], §112) | |
| A reaction: Maybe we do see it as a continuum? The racket swings and the ball is propelled, but the contact is a unity, not two separate events. |