9 ideas
| 7529 | All philosophy should begin with an analysis of propositions [Russell] |
| Full Idea: That all sound philosophy should begin with an analysis of propositions is a truth too evident, perhaps, to demand a proof. | |
| From: Bertrand Russell (The Philosophy of Leibniz [1900], p.8), quoted by Ray Monk - Bertrand Russell: Spirit of Solitude | |
| A reaction: Compare Idea 483. The obvious response to Russell is that it must actually begin with a decision about which propositions are worth analysing - and that ain't easy. I like analysis, but philosophy is also a vision of truth. |
| 16641 | Whiteness does not exist, but by it something can exist-as-white [Aquinas] |
| Full Idea: Whiteness is said to exist not because it subsists in itself, but because by it something has existence-as-white. | |
| From: Thomas Aquinas (Quodlibeta [1267], IX.2.2), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 10.2 | |
| A reaction: It seems unavoidable to refer to the whiteness as 'it'. It might be called the 'adverbial' theory of properties, as ways of doing something. |
| 22170 | Senses grasp external properties, but the understanding grasps the essential natures of things [Aquinas] |
| Full Idea: Our imagination and senses grasp only the outer properties of things, not their natures. ...Understanding, however, grasps the very substance and nature of things, so that what is represented in understanding is a likeness of thing's very essence. | |
| From: Thomas Aquinas (Quodlibeta [1267], 8.2.2) | |
| A reaction: This is exactly the picture I endorse for modern science. Explanation is the path to understanding, and that must venture beyond immediate experience. |
| 22169 | Initial universal truths are present within us as potential, to be drawn out by reason [Aquinas] |
| Full Idea: For present in us by nature are certain initial truths everyone knows, in which lie potentially known conclusions our reasons can draw out and make actually known. | |
| From: Thomas Aquinas (Quodlibeta [1267], 8.2.2) | |
| A reaction: Note that these are truths rather than concepts, but that they have to be 'drawn out' by reason. This is Descartes' view of the matter, where the 'natural light' of reason is needed to articulate what is innate, such as geometry. |
| 22168 | Minds take in a likeness of things, which activates an awaiting potential [Aquinas] |
| Full Idea: What the mind takes in is not some material element of the agent, but a likeness of the agent actualising some potential the patient already has. This, for example, is the way our seeing takes in the colour of a coloured body. | |
| From: Thomas Aquinas (Quodlibeta [1267], 8.2.1) | |
| A reaction: This is exactly right. Descartes agreed. It works for colour, but not (obviously) for cheese graters. |
| 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! |