7 ideas
| 16362 | An identity statement aims at getting the hearer to merge two mental files [Lockwood] |
| Full Idea: The purpose of an identity statement is to get the hearer to merge these files or bodies of information into one. | |
| From: Michael Lockwood (Identity and Reference [1971], p.209), quoted by François Recanati - Mental Files 4.1 | |
| A reaction: Lockwood is a pioneer, in seeing 'Hesperus is Phosphorus' and 'Scott is the author of 'Waverley'' in terms of how the mind works. Mental files seem to me to explain a huge amount. Recanati proposes 'linking' rather than 'merging'. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 5655 | Happiness is not satisfaction of desires, but fulfilment of values [Bradley, by Scruton] |
| Full Idea: For Bradley, the happiness of the individual is not to be understood in terms of his desires and needs, but rather in terms of his values - which is to say, in terms of those of his desires which he incorporates into his self. | |
| From: report of F.H. Bradley (Ethical Studies [1876]) by Roger Scruton - Short History of Modern Philosophy Ch.16 | |
| A reaction: Good. Bentham will reduce the values to a further set of desires, so that a value is a complex (second-level?) desire. I prefer to think of values as judgements, but I like Scruton's phrase of 'incorporating into his self'. Kant take note (Idea 1452). |