11 ideas
| 7910 | Pursue truth with the urgency of someone whose clothes are on fire [Ashvaghosha] |
| Full Idea: As though your turban or your clothes were on fire, so with a sense of urgency should you apply your intellect to the comprehension of the truths. | |
| From: Ashvaghosha (Saundaranandakavya [c.50], XVI) | |
| A reaction: The best philosophers need no such urging. I retain a romantic view that we should be 'natural' in these things. See Plato's views in Idea 2153 and 1638. However, maybe I should be confronted with this quotation every morning when I awake. |
| 15570 | Phenomenology is the science of essences - necessary universal structures for art, representation etc. [Husserl, by Polt] |
| Full Idea: For Husserl, phenomenology must seek the essential aspects of phenomena - necessary, universal structures, such as the essence of art or the essence of representation. He sought a science of these essences. | |
| From: report of Edmund Husserl (Logical Investigations [1900]) by Richard Polt - Heidegger: an introduction 2 'Dilthey' |
| 7614 | Bracketing subtracts entailments about external reality from beliefs [Husserl, by Putnam] |
| Full Idea: In effect, the device of bracketing subtracts entailments from the ordinary belief locution (the entailments that refer to what is external to the thinker's mind). | |
| From: report of Edmund Husserl (Logical Investigations [1900]) by Hilary Putnam - Reason, Truth and History Ch.2 | |
| A reaction: This seems to leave phenomenology as pure introspection, or as a phenomenalist description of sense-data. It is also a refusal to explain anything. That sounds quite appealing, like Keats's 'negative capability'. |
| 6893 | Phenomenology aims to describe experience directly, rather than by its origins or causes [Husserl, by Mautner] |
| Full Idea: Phenomenology, in Husserl, is an attempt to describe our experience directly, as it is, separately from its origins and development, independently of the causal explanations that historians, sociologists or psychologists might give. | |
| From: report of Edmund Husserl (Logical Investigations [1900]) by Thomas Mautner - Penguin Dictionary of Philosophy p.421 | |
| A reaction: In this simple definition the concept sounds very like the modern popular use of the word 'deconstruction', though that is applied more commonly to cultural artifacts than to actual sense experience. |
| 21216 | Husserl says we have intellectual intuitions (of categories), as well as of the senses [Husserl, by Velarde-Mayol] |
| Full Idea: The novelty of Husserl is to describe that we have intellectual intuitions, intuitions of categories as we have intuitions of sense objects. | |
| From: report of Edmund Husserl (Logical Investigations [1900], II.VI.24) by Victor Velarde-Mayol - On Husserl 2.4.4 | |
| A reaction: This is 'intuitions' in Kant's sense, of something like direct apprehensions. This idea is an axiom of phenomenology, because all mental life must be bracketed, and not just the sense experience part. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 7909 | The Eightfold Path concerns morality, wisdom, and tranquillity [Ashvaghosha] |
| Full Idea: The Eightfold Path has three steps concerning morality - right speech, right bodily action, and right livelihood; three of wisdom - right views, right intentions, and right effort; and two of tranquillity - right mindfulness and right concentration. | |
| From: Ashvaghosha (Saundaranandakavya [c.50], XVI) | |
| A reaction: Most of this translates quite comfortably into the aspirations of western philosophy. For example, 'right effort' sounds like Kant's claim that only a good will is truly good (Idea 3710). The Buddhist division is interesting for action theory. |
| 7908 | At the end of a saint, he is not located in space, but just ceases to be disturbed [Ashvaghosha] |
| Full Idea: When an accomplished saint comes to the end, he does not go anywhere down in the earth or up in the sky, nor into any of the directions of space, but because his defilements have become extinct he simply ceases to be disturbed. | |
| From: Ashvaghosha (Saundaranandakavya [c.50], XVI) | |
| A reaction: To 'cease to be disturbed' is the most attractive account of heaven I have encountered. It all sounds a bit dull though. I wonder, as usual, how they know all this stuff. |