30 ideas
| 20962 | Habermas seems to make philosophy more democratic [Habermas, by Bowie] |
| Full Idea: Habermas is concerned to avoid the traumas of modern German history by making democracy an integral part of philosophy. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by Andrew Bowie - Introduction to German Philosophy Conc 'Habermas' | |
| A reaction: Hence Habermas's emphasis on communication as central to language, which is central to philosophy. Modern philosophy departments are amazingly hierarchical. |
| 15670 | The aim of 'post-metaphysical' philosophy is to interpret the sciences [Habermas, by Finlayson] |
| Full Idea: For Habermas, the task of what he calls 'post-metaphysical' philosophy is to be a stand-in and interpreter for the specialized sciences. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by James Gordon Finlayson - Habermas Ch.5:65 |
| 15665 | We can do social philosophy by studying coordinated action through language use [Habermas, by Finlayson] |
| Full Idea: Habermas claims to have embarked upon a new way of doing social philosophy, one that begins from an analysis of language use and that locates the rational basis of the coordination of action in speech. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by James Gordon Finlayson - Habermas Ch.3:28 |
| 20573 | Rather than instrumental reason, Habermas emphasises its communicative role [Habermas, by Oksala] |
| Full Idea: Instead of Enlightenment instrumental rationality (criticised by Adorno and Horkheimer), Habermas emphasizes 'communicative rationality', which makes critical discussion and mutual understanding possible. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by Johanna Oksala - Political Philosophy: all that matters Ch.6 | |
| A reaction: There was a good reason not to smoke cigarettes, before we found out what it is. In one sense, reasons are in the world. This is interesting, but I feel analytic vertigo, as the lovely concept of 'rationality' becomes blurred and diffused. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 20961 | What is considered a priori changes as language changes [Habermas, by Bowie] |
| Full Idea: Habermas claims that what is regarded as a priori changes with history. This is because the linguistic structures on which judgements depend are themselves part of history, not prior to it. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by Andrew Bowie - Introduction to German Philosophy Conc 'Habermas' | |
| A reaction: This is an interesting style of argument generally only found in continental philosophers, because they see the problem as historical rather than timeless. Compare Idea 20595, which sees analyticity historically. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 15667 | To understand a statement is to know what would make it acceptable [Habermas] |
| Full Idea: We understand the meaning of a speech act when we know what would make it acceptable. | |
| From: Jürgen Habermas (The Theory of Communicative Action [1981], I:297), quoted by James Gordon Finlayson - Habermas Ch.3:37 | |
| A reaction: Finlayson glosses this as requiring the reasons which would justify the speech act. |
| 15668 | Meaning is not fixed by a relation to the external world, but a relation to other speakers [Habermas, by Finlayson] |
| Full Idea: On Habermas's view, meanings are not determined by the speaker's relation to the external world, but by his relation to his interlocutors; meaning is essentially intersubjective. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by James Gordon Finlayson - Habermas Ch.3:38 | |
| A reaction: This view is not the same as Grice's, but it is clearly much closer to Grice than to (say) the Frege/Davidson emphasis on truth-conditions. I'm not sure if I would know how to begin arbitrating between the two views! |
| 15666 | To understand language is to know how to use it to reach shared understandings [Habermas] |
| Full Idea: One simply would not know what it is to understand the meaning of a linguistic expression if one did not know how one could make use of it in order to reach understanding with someone about something. | |
| From: Jürgen Habermas (On the Pragmatics of Communications [1998], p.228), quoted by James Gordon Finlayson - Habermas Ch.3:34 | |
| A reaction: Not offered as a 'theory of meaning', and certainly plausible. Compare a hammer, though: a proper understanding is that it is used to exert a sharp force, but you can take in its structure and nature before you spot its usage. |
| 15677 | Moral right is linked to validity and truth, so morality is a matter of knowledge, not an expression of values [Habermas, by Finlayson] |
| Full Idea: According to discourse ethics moral rightness is internally linked to validity and is analogous to truth: ..thus Habermas takes himself to have shown that morality is a matter of knowledge, rather than the expression of contingently held values. | |
| From: report of Jürgen Habermas (Moral Consciousness and Communicative Action [1990]) by James Gordon Finlayson - Habermas Ch.7:102 | |
| A reaction: I can immediately hear Nietzsche asking why you place such a high value on knowledge. Personally I don't assume that values must be 'contingent'. The Aristotelian tradition sees necessary values in facts about human nature. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 15672 | Actions norms are only valid if everyone possibly affected is involved in the discourse [Habermas] |
| Full Idea: Only those action norms are valid to which all possibly affected persons could agree as participants in rational discourse. | |
| From: Jürgen Habermas (Between Facts and Norms [1996], p.107), quoted by James Gordon Finlayson - Habermas Ch.6:79 | |
| A reaction: This remark stands somewhere between Kant and Rawls. The Holocaust stands behind Habermas's philosophy. The thought, I suppose, is that it would never have happened if everybody had been fully involved in the original discourse about it. |
| 15671 | Move from individual willing of a general law, to willing norms agreed with other people [Habermas] |
| Full Idea: The emphasis shifts from what each can will without contradiction to be a general law, to what all can will in agreement to be a universal norm. | |
| From: Jürgen Habermas (Moral Consciousness and Communicative Action [1990], p.67), quoted by James Gordon Finlayson - Habermas Ch.5:69 | |
| A reaction: This strikes me as being very close to Scanlon's contractualism. As expressed here, it sounds more vulnerable than Kant's full universality to the problem of Nazis agreeing odious universal norms. Habermas calls it 'discourse ethics'. |
| 15669 | People endorse equality, universality and inclusiveness, just by their communicative practices [Habermas, by Finlayson] |
| Full Idea: The ideal of equality, universality, and inclusiveness are inscribed in the communicative practices of the lifeworld, and agents, merely by virtue of communicating, conform to them. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by James Gordon Finlayson - Habermas Ch.4:60 | |
| A reaction: This summary of Habermas's social views strikes me as thoroughly Kantian. It is something like the ideals of the Kingdom of Ends, necessarily implemented in a liberal society. Habermas emphasises the social, where Kant starts from the liberal. |
| 23416 | Political involvement is needed, to challenge existing practices [Habermas, by Kymlicka] |
| Full Idea: Habermas thinks political deliberation is required precisely because in its absence people will tend to accept existing practices as given, and thereby perpetuate false needs. | |
| From: report of Jürgen Habermas (The Theory of Communicative Action [1981]) by Will Kymlicka - Community 'need' | |
| A reaction: If the dream is healthy and intelligent progress, it is not clear where that should come from. The problem with state involvement in the authority and power of the state. Locals are often prejudiced, so the intermediate level may be best. |
| 7810 | The 'Eumenides' of Aeschylus shows blood feuds replaced by law [Aeschylus, by Grayling] |
| Full Idea: The 'Eumenides' of Aeschylus tells how the old rule of revenge and blood feud was replaced by a due process of law before a civil jury. | |
| From: report of Aeschylus (The Eumenides [c.458 BCE]) by A.C. Grayling - What is Good? Ch.2 | |
| A reaction: Compare Idea 1659, where this revolution is attributed to Protagoras (a little later than Aeschylus). I take the rule of law and of society to be above all the rule of reason, because the aim is calm objectivity instead of emotion. |