20 ideas
| 21793 | Genuine truth is the resolution of the highest contradiction [Hegel] |
| Full Idea: The highest truth, truth as such, is the resolution of the highest opposition and contradiction. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 99), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Art' | |
| A reaction: Uneasy about the word 'highest', and the general Hegelian dream of 'resolving' contradictions, rather than just eliminating at least one component of them. No one else uses the word 'truth' like this. I suppose this Truth has a capital 'T'. |
| 21795 | What I hold true must also be part of my feelings and character [Hegel] |
| Full Idea: Whatever I hold as true, whatever ought to be valid for me, must also be in my feeling, must belong to my being and character. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 97), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Philosophy' | |
| A reaction: I can see that truths do tend to become part of our character, but not that they ought to do so. I suppose I try to live my life enmeshed in the many truths which I have personally selected from the maelstrom of possibilities that engulf us. |
| 11184 | Aristotelian essentialism is about shared properties, individuating essentialism about distinctive properties [Marcus (Barcan)] |
| Full Idea: An object must have some of its natural properties in this world. Some of those it has in common with objects of some proximate kind (Aristotelian essentialism), and others individuate it from objects of the same kind (individuating essentialism). | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.193) |
| 11181 | Aristotelian essentialism involves a 'natural' or 'causal' interpretation of modal operators [Marcus (Barcan)] |
| Full Idea: Aristotelian essentialism may best be understood on a 'natural' or 'causal' interpretation of the modal operators. | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.189) | |
| A reaction: I record this because I very much like the sound of it, though I have yet to fully understand it. |
| 11180 | Essentialist sentences are not theorems of modal logic, and can even be false [Marcus (Barcan)] |
| Full Idea: In the range of modal systems for which Saul Kripke has provided a semantics, no essentialist sentence is a theorem. Furthermore, there are models for which such sentences are demonstrably false. | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.188) |
| 11186 | 'Essentially' won't replace 'necessarily' for vacuous properties like snub-nosed or self-identical [Marcus (Barcan)] |
| Full Idea: We would never use 'is essentially' for 'is necessarily' where vacuous properties are concerned, as in 'Socrates is essentially snub-nosed' or 'Socrates is essentially Socrates'. | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.193) | |
| A reaction: This simple point does us a huge service in rescuing the word 'essential' from several hundred years of misguided philosophy. |
| 11185 | 'Is essentially' has a different meaning from 'is necessarily', as they often cannot be substituted [Marcus (Barcan)] |
| Full Idea: There seems to be surface synonymy between 'is essentially' and de re occurrences of 'is necessarily', but intersubstitution often fails to preserve sense (as in 'Winston is essentially a cyclist' and 'Winston is necessarily a cyclist'). | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.193) | |
| A reaction: Clearly the two sentences have different meanings, with 'essentially' being a comment about the nature of Winston, and 'necessarily' probably being a comment about the circumstances in which he finds himself. Very nice. See also Idea 11186. |
| 11182 | If essences are objects with only essential properties, they are elusive in possible worlds [Marcus (Barcan)] |
| Full Idea: Some philosophers make a metaphysical shift, by inventing objects (individual concepts, forms, substances) called 'essences', which have only essential properties, and then worry when they can't locate them by rummaging around in possible worlds. | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.192) |
| 11183 | The use of possible worlds is to sort properties (not to individuate objects) [Marcus (Barcan)] |
| Full Idea: The usefulness of talk about possible worlds is not for purposes of individuating the object - that can be done in this world; such talk is a way of sorting its properties. | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.192) | |
| A reaction: 'Possible worlds are a device for sorting properties' sounds to me like a promising slogan. Ruth Marcus originated rigid designation, before Kripke came up with the label. |
| 11187 | In possible worlds, names are just neutral unvarying pegs for truths and predicates [Marcus (Barcan)] |
| Full Idea: The strategem of talk about possible worlds is that truth assignments of sentences and extensions of predicates may vary, but individual names don't alter their reference (unless they don't refer). They are a neutral peg for descriptions. | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.194) |
| 18549 | Nineteenth century aesthetics focused on art rather than nature (thanks to Hegel) [Hegel, by Scruton] |
| Full Idea: Only In the course of the nineteenth century, and in the wake of Hegel's posthumously published lectures on aesthetics, did the topic of art come to replace that of natural beauty as the core subject-matter of aesthetics. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826], 5) by Roger Scruton - Beauty: a very short introduction |
| 22043 | Hegel largely ignores aesthetic pleasure, taste and beauty, and focuses on the meaning of artworks [Hegel, by Pinkard] |
| Full Idea: Unlike his predecessors (including Kant), Hegel does not focus on aesthetic pleasure, nor on good taste, nor even on the nature and criteria for beauty. Instead he focuses on the meaning of artworks and their role in forming mankind's self-consciousness. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Personally I dislike over-intellectualising art. The aim of a work of art is to give a certain experience, not to generate an ensuing sequence of theorising. I doubt whether Vermeer had any 'meaning' in mind in his obsessive work. |
| 22042 | Natural beauty is unimportant, because it doesn't show human freedom [Hegel, by Pinkard] |
| Full Idea: Hegel thinks that natural beauty is of no real significance since it cannot display our freedom to us; nature per se is meaningless. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Presumably freedom is in the creation, and so creativity is what matters in aesthetics. But what are the criteria of good creativity? |
| 20413 | For Hegel the importance of art concerns the culture, not the individual [Hegel, by Eldridge] |
| Full Idea: Hegel locates the significance of art in its role in cultural life in general, not in relation to the psychological needs of individuals. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Richard Eldridge - G.W.F. Hegel (aesthetics) 1 | |
| A reaction: I'm beginning to see that art is a wonderful focus and test case for political attitudes. Roughly, liberalism focuses on individual responses, but more societal views (from right and left) see it in terms of role in the community. Which are you? |
| 20394 | The purpose of art is to reveal to Spirit its own nature [Hegel, by Davies,S] |
| Full Idea: According to Hegel, the goal of art was to serve as a phase in a process by which Spirit would come to understand its own nature. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Stephen Davies - The Philosophy of Art (2nd ed) 2.7 | |
| A reaction: I try very hard to understand ideas like this. Really really hard. However, since I see little sign of 'Spirit' really understanding its own nature, I'm guessing that the project is not going well. |
| 21794 | The main purpose of art is to express the unity of human life [Hegel] |
| Full Idea: Art's primary function, for Hegel, is to give expression to the unity and wholeness of life - especially human life - that the contingencies of everyday existence frequently conceal. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826]), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Beauty' | |
| A reaction: I don't find the view that human life is 'unified' and 'whole' vary illuminating, and I have no objection to art which reflects the fragmentary and unstable aspects of life. I suspect Hegel would just prefer it if life were a unity. |
| 20415 | Art forms a bridge between the sensuous world and the world of pure thought [Hegel] |
| Full Idea: Spirit generates out of itself works of fine art as the first reconciling middle term between pure thought and what is merely external, sensuous and transient - between finite natural reality and the infinite freedom of conceptual thinking. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], p.8), quoted by Richard Eldridge - G.W.F. Hegel (aesthetics) | |
| A reaction: This apparently says that there is necessarily an intellectual and conceptual component in art. This means little to me. Does he include portraits? Dutch domestic scenes? Would photography qualify? |
| 1748 | Archelaus was the first person to say that the universe is boundless [Archelaus, by Diog. Laertius] |
| Full Idea: Archelaus was the first person to say that the universe is boundless. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.Ar.3 |
| 11189 | Dispositional essences are special, as if an object loses them they cease to exist [Marcus (Barcan)] |
| Full Idea: Being gold or being a man is not accidental. ..Such essences are dispositional properties of a very special kind: if an object had such a property and ceased to have it, it would have ceased to exist or have changed (as if gold is transmuted to lead). | |
| From: Ruth Barcan Marcus (Essential Attribution [1971], p.202) | |
| A reaction: Ruth Marcus is an important founder of modern scientific essentialism, by not only proposing the notion we call rigid designation, but by explicitly defending the essential identities that seem to emerge from modal logic. |
| 5989 | Archelaus said life began in a primeval slime [Archelaus, by Schofield] |
| Full Idea: Archelaus wrote that life on Earth began in a primeval slime. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Malcolm Schofield - Archelaus | |
| A reaction: This sounds like a fairly clearcut assertion of the production of life by evolution. Darwin's contribution was to propose the mechanism for achieving it. We should honour the name of Archelaus for this idea. |