8 ideas
| 22026 | Philosophy is homesickness - the urge to be at home everywhere [Novalis] |
| Full Idea: Philosophy is actually homesickness - the urge to be everywhere at home. | |
| From: Novalis (General Draft [1799], 45) | |
| A reaction: The idea of home [heimat] is powerful in German culture. The point of romanticism was seen as largely concerning restless souls like Byron and his heroes, who do not feel at home. Hence ironic detachment. |
| 15571 | The idea of an atemporal realm of validity is as implausible as medieval theology [Heidegger] |
| Full Idea: The whole idea of an atemporal realm of validity is an invention that is no less doubtful than medieval speculation about angels. | |
| From: Martin Heidegger (Basic Problems of Phenomenology [1927], p.215), quoted by Richard Polt - Heidegger: an introduction 2 'Theory' | |
| A reaction: This seems to be flatly opposed to the view of Frege, and shows why continental philosophy has largely eschewed a study of logic. It is hard for a philosopher to pursue logic extensively without commitment to the Fregean Third Realm. |
| 19591 | Desire for perfection is an illness, if it turns against what is imperfect [Novalis] |
| Full Idea: An absolute drive toward perfection and completeness is an illness, as soon as it shows itself to be destructive and averse toward the imperfect, the incomplete. | |
| From: Novalis (General Draft [1799], 33) | |
| A reaction: Deep and true! Novalis seems to be a particularist - hanging on to the fine detail of life, rather than being immersed in the theory. These are the philosophers who also turn to literature. |
| 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! |
| 15581 | Dasein is always only that which it has chosen to be [Heidegger] |
| Full Idea: Dasein is always only that which it has chosen to be. | |
| From: Martin Heidegger (Basic Problems of Phenomenology [1927], p.278), quoted by Richard Polt - Heidegger: an introduction 3.§39-42 | |
| A reaction: I take it as significant that this is what it 'has' chosen, and not what it now 'chooses'. I might accept that my mode of existence results from past choices, but certainly not that I can choose it now. Ossified brain. |