20 ideas
| 20955 | Art can make reason more all-inclusive, by articulating what seemed inexpressible [Bowie] |
| Full Idea: The early German Romantics argued that art pointed to a more all-inclusive conception of reason, which can offer ways of articulating what is not conceptually accessible. | |
| From: Andrew Bowie (Introduction to German Philosophy [2003], 5 'Reason') | |
| A reaction: [This is Novalis, F.Schlegel, Schleiermacher, and Hölderlin] I'm in favour of expanding reason, to include assessment of situations and coherence, rather than just stepwise reasoning. Not sure that art 'articulates' something new. |
| 22049 | Transcendental idealism aims to explain objectivity through subjectivity [Bowie] |
| Full Idea: The aim of transcendental idealism is to give a basis for objectivity in terms of subjectivity. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010], 1) | |
| A reaction: Hume used subjectivity to undermine the findings of objectivity. There was then no return to naive objectivity. Kant's aim then was to thwart global scepticism. Post-Kantians feared that he had failed. |
| 20950 | German Idealism says our thinking and nature have the same rational structure [Bowie] |
| Full Idea: German Idealism aims to demonstrate that our thinking relates to a nature which is intelligibly structured in the same way as our thinking is structured. | |
| From: Andrew Bowie (Introduction to German Philosophy [2003], 3 'Limits') | |
| A reaction: Now that's an idealism I might buy into. Frege thought his logic was mapping rational reality. My angle is that we are a product of this 'reality', so we should expect our thinking to be similarly structured. Reason is derived from nature. |
| 22055 | The Idealists saw the same unexplained spontaneity in Kant's judgements and choices [Bowie] |
| Full Idea: The Idealist saw in Kant that knowledge, which depends on the spontaneity of judgement, and self-determined spontaneous action, can be seen as sharing the same source, which is not accessible to scientific investigation. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010]) | |
| A reaction: This is the 'spontaneity' of judgements and choices which was seen as the main idea in Kant. It inspired romantic individualism. The judgements are the rule-based application of concepts. |
| 22054 | German Idealism tried to stop oppositions of appearances/things and receptivity/spontaneity [Bowie] |
| Full Idea: A central aim of German Idealism is to overcome Kant's oppositions between appearances and thing in themselves, and between receptivity and spontaneity. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010], 2) | |
| A reaction: I have the impression that there were two strategies: break down the opposition within the self (Fichte), or break down the opposition in the world (Spinozism). |
| 22056 | Crucial to Idealism is the idea of continuity between receptivity and spontaneous judgement [Bowie] |
| Full Idea: A crucial idea for German Idealism (from Hamann) is that apparently passive receptivity and active spontaneity are in fact different degrees of the same 'activity, and the gap between subject and world can be closed. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010], 3) | |
| A reaction: The 'passive' bit seems to be Hume's 'impressions', which are Kant's 'intuitions', which need 'spontaneous' interpretation to become experiences. Critics of Kant said this implied a dualism. |
| 20653 | Six reduction levels: groups, lives, cells, molecules, atoms, particles [Putnam/Oppenheim, by Watson] |
| Full Idea: There are six 'reductive levels' in science: social groups, (multicellular) living things, cells, molecules, atoms, and elementary particles. | |
| From: report of H.Putnam/P.Oppenheim (Unity of Science as a Working Hypothesis [1958]) by Peter Watson - Convergence 10 'Intro' | |
| A reaction: I have the impression that fields are seen as more fundamental that elementary particles. What is the status of the 'laws' that are supposed to govern these things? What is the status of space and time within this picture? |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20942 | Nazis think race predetermines the self [Bowie] |
| Full Idea: The Nazi idea is that the self is predetermined primarily by its race. | |
| From: Andrew Bowie (Introduction to German Philosophy [2003], Intro) | |
| A reaction: I suspect that I occasionally encounter this view, in very patriotic people. But then you meet people who feeling that their self is mainly determined by support of a football team. Note, though, 'pre-'determined. Hegel makes this idea possible? |
| 20946 | Rhetoric is built into language, so it cannot be stripped from philosophy [Bowie] |
| Full Idea: The attempt to rid philosophy of rhetoric falls prey precisely to that fact that what is involved in rhetoric is inherent in what is built into all natural languages by their genesis in the real historical world. | |
| From: Andrew Bowie (Introduction to German Philosophy [2003], 2 'Hamann') | |
| A reaction: Rhetoric can range from charming to bullying, and it is the latter which is the problem. The underlying issue is dogma versus dialectic. Some analytic philosophers have a good shot at being non-rhetorical. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |