9 ideas
| 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. |
| 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. |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |
| 5064 | Rights are moral significance, or liberty, or right not to be restrained, or entitlement [Mawson] |
| Full Idea: A 'right' can mean 'x counts morally', or 'x is permitted to do this' (liberty), or 'x can't be stopped from doing this' (negative right), or 'someone should provide this for x'. | |
| From: Tim Mawson (Animal Rights talk [2003]), quoted by PG - lecture notes | |
| A reaction: A useful analysis. It is a useful preliminary to considering whether any of these are natural rights. Personally I am sympathetic to that concept. You cannot deny a person's right to self-defence, even when you are sitting on them. Persons have rights. |