11 ideas
| 12312 | The real essence of a thing is its powers, or 'dispositional properties' [Copi] |
| Full Idea: With respect to scientific usage, we can say that the real essence of a thing will consist very largely of powers or, in modern terms, dispositional properties. | |
| From: Irving M. Copi (Essence and Accident [1954], p.718) | |
| A reaction: Once again, Copi is a hero. I personally love the word 'powers' in metaphysics (and dislike the word 'properties', which is lost in a fog of confusion). See Molnar on 'powers' and Mumford on 'dispositions'. |
| 10937 | Essential properties are the 'deepest' ones which explain the others [Copi, by Rami] |
| Full Idea: The 'explanatory characterization' says that the essential properties of an object are the object's deepest explanatory properties, which explain the other properties of the object - and which Copi claims is mind-independent. | |
| From: report of Irving M. Copi (Essence and Accident [1954]) by Adolph Rami - Essential vs Accidental Properties §2 | |
| A reaction: It is, of course, normal to see a good explanation as being dependent on the interests of the audience. Perhaps this account should be in terms of causal powers. See Shoemaker on properties. |
| 12308 | In modern science, nominal essence is intended to be real essence [Copi] |
| Full Idea: In the sphere of scientific enquiry the distinction between real and nominal essence tends to disappear; the scientist's classification of things is intended to be in terms of their real essences. | |
| From: Irving M. Copi (Essence and Accident [1954], p.716) | |
| A reaction: Thus we have disputes over what is the 'real' classification of natural kinds such as animals. There is not much point in a classification system that does not at least reflect some aspects of reality. |
| 12303 | Within the four types of change, essential attributes are those whose loss means destruction [Copi] |
| Full Idea: If we can distinguish the different kinds of change (alteration, locomotion, growth, diminution), then we can say that a given attribute is essential to an object if its loss would result in the destruction of that object. | |
| From: Irving M. Copi (Essence and Accident [1954], p.707-8) | |
| A reaction: As Copi is aware, this is a necessary condition for a property for essence, but not sufficient. If an attribute were necessary but non-essential, its loss would also be destruction. We say the essential attributes must also have some explanatory role. |
| 8130 | Qualities of experience are just representational aspects of experience ('Representationalism') [Harman, by Burge] |
| Full Idea: Harman defended what came to be known as 'representationalism' - the view that qualitative aspects of experience are nothing other than representational aspects. | |
| From: report of Gilbert Harman (The Intrinsic Quality of Experience [1990]) by Tyler Burge - Philosophy of Mind: 1950-2000 p.459 | |
| A reaction: Functionalists like Harman have a fairly intractable problem with the qualities of experience, and this may be clutching at straws. What does 'represent' mean? How is the representation achieved? Why that particular quale? |
| 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! |
| 12307 | Modern science seeks essences, and is getting closer to them [Copi] |
| Full Idea: Modern science seeks to know the real essences of things, and its increasing successes seem to be bringing it progressively nearer to that goal. | |
| From: Irving M. Copi (Essence and Accident [1954], p.715) | |
| A reaction: This is from a notable pioneering paper, which outlined scientific essentialism even before Marcus and Kripke began to offer a modern account of essence to give it backing. Compare Popper, who thinks essences are will-o-the-wisps. |
| 12310 | Real essences are scientifically knowable, but so are non-essential properties [Copi] |
| Full Idea: Contrary to Locke, I should hold that real essences are in principle knowable, and contrary to Aristotle, I should hold that non-essential or accidental properties can also be objects of scientific knowledge. | |
| From: Irving M. Copi (Essence and Accident [1954], p.717) | |
| A reaction: Copi has just become my hero. Aristotle's account of definition is on the brink of allowing fine-tuned essences, but he thinks universal understanding blocks knowledge of individuals. But cross-referencing of universals pinpoints individuals. |