33 ideas
| 20110 | Hegel, Fichte and Schelling wanted to know Kant's thing-in-itself, as ego, or nature, or spirit [Safranski] |
| Full Idea: The 'thing in iself' acted on Kant's successors like a hole in the closed world of knowledge...Hegel, Fichte and Schelling wanted to penetrate into what they presumed to be the heart of things, by the invention of means of 'ego', or 'nature', or 'spirit., | |
| From: Rüdiger Safranski (Nietzsche: a philosophical biography [2000], 07) | |
| A reaction: [a bit compressed] Although no scientist claims to know the ultimate essence of matter, the authority of science largely comes from persuasively moving us several steps closer to the thing in itself (more persuasively than these three). |
| 7973 | There is no longer anything on which there is nothing to say [Baudrillard] |
| Full Idea: There is no longer anything on which there is nothing to say. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p. 17) | |
| A reaction: Compare Ideas 2937 and 6870. I'm not sure whether Baudrillard is referring to the limits of philosophy, or merely to social taboos. I like Ansell Pearson's view: we should attempt to discuss what appears to be undiscussable. |
| 6841 | Some continental philosophers are relativists - Baudrillard, for example [Baudrillard, by Critchley] |
| Full Idea: There are philosophers in the continental tradition who are relativists - Baudrillard, for example. | |
| From: report of Jean Baudrillard (works [1976]) by Simon Critchley - Interview with Baggini and Stangroom p.192 | |
| A reaction: This remark is in the context of Critchley denying that most continental philosophers are relativists. |
| 7975 | The task of philosophy is to unmask the illusion of objective reality [Baudrillard] |
| Full Idea: The task of philosophy is to unmask the illusion of objective reality - a trap that is, in a sense, laid for us by nature. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p. 40) | |
| A reaction: There is a vast gap between this and the Lockean view (Idea 7653) that philosophers are there to help reveal reality, probably via science. I retain the Enlightenment faith that there is a reality to be found. Baudrillard must be taken seriously, though. |
| 7986 | Drunken boat pilots are less likely to collide than clearly focused ones [Baudrillard] |
| Full Idea: Two boats on Lake Constance in dense fog are in less danger of colliding if their pilots are drunk than if they are attempting to master the situation. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.196) | |
| A reaction: Charming, but I think empirical research would prove it false. At least rational pilots know to keep to the right (?) when a shape looms through the fog. I prefer rational pilots, but then I am one of those sad people who admires the Enlightenment. |
| 7982 | Instead of thesis and antithesis leading to synthesis, they now cancel out, and the conflict is levelled [Baudrillard] |
| Full Idea: Gone is the dialectic, the play of thesis and antithesis resolving itself in synthesis. The opposing terms now cancel each other out in a levelling of all conflict. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.129) | |
| A reaction: This is from someone who approved of 9/11 (p.137 of this text), and seemed to welcome conflict. His idea, which has plausibility, is that the modern media have become a great warm bath that calmly absorbs every abrasive thrown into it. |
| 7974 | Without God we faced reality: what do we face without reality? [Baudrillard] |
| Full Idea: The eclipse of God left us up against reality. Where will the eclipse of reality leave us? | |
| From: Jean Baudrillard (The Intelligence of Evil [2004]) | |
| A reaction: Baudrillard's distinctive view is that modern culture is thwarting all our attempts to grasp reality, which itself becomes a fiction. The answer is that you are left in the position of the ancient sceptics. Sextus Empiricus (see) is the saviour. |
| 7987 | Nothing is true, but everything is exact [Baudrillard] |
| Full Idea: Someone said: everything is true, nothing is exact. I would say the opposite: nothing is true, everything is exact. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.210) | |
| A reaction: In analytical terminology, this appears to say that vagueness is ontological, not epistemological, agreeing with Williamson and others. To say that 'nothing is true', though, just strikes me as silly. What does Baudrillard mean by 'true'? |
| 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) |
| 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. |
| 7978 | There is no need to involve the idea of free will to make choices about one's life [Baudrillard] |
| Full Idea: There is no need to involve the idea of free will to make choices about one's life. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p. 57) | |
| A reaction: Someone who believed that free will was metaphysically possible, but that they themselves lacked it, might feel paralysed, defeated or fatalistic about their decision-making. But that would be like falsely believing you were fatally ill. |
| 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. |
| 7980 | In modern times, being useless is the essential aesthetic ingredient for an object [Baudrillard] |
| Full Idea: Since the nineteenth century it has been art's claim that it is useless...so it is enough to elevate any object to uselessness to turn it into a work of art...and obsolete useless objects automatically acquire an aesthetic aura. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.111) | |
| A reaction: Art is 'purposive without purpose' (Kant). An nice summary of the situation, and this seems to explain the role of Duchamp's famous urinal, up on the wall and rendered useless. The obvious rebellion, though, is Arts and Crafts. |
| 7983 | Good versus evil has been banefully reduced to happiness versus misfortune [Baudrillard] |
| Full Idea: The ideal opposition between good and evil has been reduced to the idealogical oppositions between happiness and misfortune. The reduction of good to happiness is as baneful as that of evil to misfortune. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.139) | |
| A reaction: A nice example is the use in the media of the word 'tragic' for every misfortune. See the debate over the translation of the Greek 'eudaimonia'. 'Happiness' seems the wrong translation, if it leads to comments like Baudrillard's. |
| 7981 | Whole populations are terrorist threats to authorities, who unite against them [Baudrillard] |
| Full Idea: One way or another, populations themselves are a terrorist threat to the authorities...and by extension, we can hypothesize a coalition of all governments against all populations. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.120) | |
| A reaction: This may count as left-wing paranoia, but it is a striking thought, which plants an uneasy notion in the mind whenever we see two world leaders disappear behind closed doors for a chat. |
| 7976 | People like democracy because it means they can avoid power [Baudrillard] |
| Full Idea: If the people puts itself into the hands of the political class, it does so more to be rid of power than out of any desire for representation. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p. 54) | |
| A reaction: Very nice. If we are all in the grips of some biological 'will to power', that needn't be power over huge numbers of other people, merely power over our immediate lives. It can be expressed by building a wall. |
| 7977 | Only in the last 200 years have people demanded the democratic privilege of being individuals [Baudrillard] |
| Full Idea: Individuality is a recent phenomenon. It is only over the last two centuries that the populations of the civilized countries have demanded the democratic privilege of being individuals. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p. 55) | |
| A reaction: I think Aristotle's ethics and politics imply individuality, given that the only purpose of civic society seems to be to enable individuals to flourish and lead virtuous lives. Society is justified, for example, because it makes friendship possible. |
| 7979 | The arrival of the news media brought history to an end [Baudrillard] |
| Full Idea: The course of history came to an end with the entry on the scene of the news media. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p. 83) | |
| A reaction: The sort of remark for which Baudrillard became famous. It strikes me as nonsense. The view the British people got of the Battle of Trafalgar was even more distorted than their picture of the Battle of El Alamein. We know what he means, though. |
| 7984 | Suicide is ascribed to depression, with the originality of the act of will ignored [Baudrillard] |
| Full Idea: Suicide is always ascribed to depressive motivations with no account taken of an originality of, an original will to commit, the act itself. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.153) | |
| A reaction: Apparently research suggests that most suicides are clinically depressed, but even within the depression there is a startling act of will that goes beyond merely feeling bad. |
| 7985 | Pascal says secular life is acceptable, but more fun with the hypothesis of God [Baudrillard] |
| Full Idea: What Pascal says, more or less, is that you can more or less content yourself with a secular existence and its advantages, but it's much more fun with the hypothesis of God. | |
| From: Jean Baudrillard (The Intelligence of Evil [2004], p.155) | |
| A reaction: Pascal will be a bit startled when he reads this, but it is a lovely way to present his idea. It suddenly sounds much more attractive. Life would be much more fun if we lived according to all sorts of startling beliefs. Relating your life to God is one. |