19 ideas
| 9307 | Modern Western culture suddenly appeared in Jena in the 1790s [Svendsen] |
| Full Idea: Foucault was right to say that Jena in the 1790s was the arena where the fundamental interests in modern Western culture suddenly had their breakthrough. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.2) | |
| A reaction: [Hölderlin, Novalis, Tieck, Schlegel, based on Kant and Fichte] Romanticism seems to have been born then. Is that the essence of modernism? Foucault and his pals are hoping to destroy the Enlightenment by ignoring it, but that is modern too. |
| 9297 | You can't understand love in terms of 'if and only if...' [Svendsen] |
| Full Idea: I once began reading a philosophical article on love. The following statement soon came up: 'Bob loves Kate if and only if...' At that point I stopped reading. Such a formalized approach was unsuitable, because the actual phenomenon would be lost. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Pref) | |
| A reaction: It is hard to disagree! However, if your best friend comes to you and says, 'I can't decide whether I am really in love with Kate; what do you think?', how are you going to respond. You offer 'if and only if..', but in a warm and sympathetic way! |
| 2614 | Modern phenomenalism holds that objects are logical constructions out of sense-data [Ayer] |
| Full Idea: Nowadays phenomenalism is held to be a theory of perception which says that physical objects are logical constructions out of sense-data. | |
| From: A.J. Ayer (Phenomenalism [1947], §1) |
| 9308 | If subjective and objective begin to merge, then so do primary and secondary qualities [Svendsen] |
| Full Idea: It is doubtful whether the traditional dichotomy between the strictly subjective and the strictly objective can still be maintained; if not, we must also revise the distinction between primary and secondary qualities. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.3) | |
| A reaction: Very perceptive. The reason why I am so keen to hang onto the primary/secondary distinction is because I want to preserve objectivity (and realism). I much prefer Locke to Hume, as empiricist spokesmen. |
| 2615 | The concept of sense-data allows us to discuss appearances without worrying about reality [Ayer] |
| Full Idea: The introduction of the term 'sense-datum' is a means of referring to appearances without prejudging the question of what it is, if anything, that they are appearances of. | |
| From: A.J. Ayer (Phenomenalism [1947], §1) |
| 9309 | Emotions have intentional objects, while a mood is objectless [Svendsen] |
| Full Idea: An emotion normally has an intentional object, while a mood is objectless. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.3) | |
| A reaction: It doesn't follow that the object of the emotion is clearly understood, or even that it is conscious. One may experience rising anger while struggling to see what its object is. Artistic symbolism seems to involve objects that create moods. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 9304 | Death appears to be more frightening the less one has lived [Svendsen] |
| Full Idea: Death appears to be more frightening the less one has lived. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.2) | |
| A reaction: [He credits Adorno with this] A good thought, which should be immediately emailed to Epicurus for comment. Which is worse - to die when you have barely started your great work (Ramsey), or dying in full flow (Schubert)? |
| 9301 | Boredom is so radical that suicide could not overcome it; only never having existed would do it [Svendsen] |
| Full Idea: Boredom is so radical that it cannot even be overcome by suicide, only by something completely impossible - not to have existed at all. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.1) | |
| A reaction: [he cites Fernando Pessoa for this] The actor George Sanders left a suicide note saying that he was just bored. A cloud of boredom is left hanging in the air where he was. |
| 9302 | We are bored because everything comes to us fully encoded, and we want personal meaning [Svendsen] |
| Full Idea: Boredom results from a lack of personal meaning, which is due to the fact that all objects and actions come to us fully encoded, while we (as descendants of Romanticism) insist on a personal meaning. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.2) | |
| A reaction: This idea justifies me categorising Boredom under Existentialism. This is an excellent idea, and perfectly captures the experience of most teenagers, for whom it is impossible to impose a personal meaning on such a vast cultural reality. |
| 9310 | The profoundest boredom is boredom with boredom [Svendsen] |
| Full Idea: In the profound form of boredom, I am bored by boredom itself. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.3) | |
| A reaction: Boredom is boring, which is why I try to avoid it. Third-level boredom is a rather enchanting idea. It sounds remarkably similar to the Buddha experiencing enlightenment. |
| 9298 | We can be unaware that we are bored [Svendsen] |
| Full Idea: It is perfectly possible to be bored without being aware of the fact. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.1) | |
| A reaction: True. Also, I sometimes mistake indecision for boredom. It becomes very hard to say for certain whether you are bored. I am certain that I am bored if I am forced to do something which has no interest for me. The big one is free-but-bored. |
| 9311 | We have achieved a sort of utopia, and it is boring, so that is the end of utopias [Svendsen] |
| Full Idea: There can hardly be any new utopias. To the extent that we can imagine a utopia, it must already have been realised. A utopia cannot, by definition, include boredom, but the 'utopia' we are living in is boring. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.4) | |
| A reaction: Compare Idea 8989. Lots of people (including me) think that we have achieved a kind of liberal, democratic, individualistic 'utopia', but the community needs of people are not being met, so we still have a way to go. |
| 9303 | The concept of 'alienation' seems no longer applicable [Svendsen] |
| Full Idea: I do not believe that the concept of 'alienation' is all that applicable any more. | |
| From: Lars Svendsen (A Philosophy of Boredom [2005], Ch.1) | |
| A reaction: Interesting but puzzling. If alienation is the key existential phenomenon of a capitalist society, why should it fade away if we remain capitalist? He is proposing that it has metamorphosed into boredom, which may be a different sort of alienation. |