17 ideas
| 8251 | The logical space of reasons is a natural phenomenon, and it is the realm of freedom [McDowell] |
| Full Idea: The logical space of reasons is just part of the logical space of nature. ...And, in a Kantian slogan, the space of reasons is the realm of freedom. | |
| From: John McDowell (Mind and World [1994], Intro 7) | |
| A reaction: [second half on p.5] This is a modern have-your-cake-and-eat-it view of which I am becoming very suspicious. The modern Kantians (Davidson, Nagel, McDowell) are struggling to naturalise free will, but it won't work. Just dump it! |
| 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. |
| 16639 | Only individual bodies exist [Bacon] |
| Full Idea: Nothing truly exists in nature beyond individual bodies. | |
| From: Francis Bacon (The New Organon [1620]), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 182 | |
| A reaction: [Unusually, Pasnau gives no reference in the text; possibly II:1-2] What this leaves out, from even an auster nominalist ontology, is undifferentiated stuff like water. Even electrons don't seem quite distinct from one another. |
| 16033 | There are only individual bodies containing law-based powers, and the Forms are these laws [Bacon] |
| Full Idea: Though nothing exists in nature except individual bodies which exhibit pure individual acts [powers] in accordance with law…It is this law and its clauses which we understand by the term Forms. | |
| From: Francis Bacon (The New Organon [1620], p.103), quoted by Jan-Erik Jones - Real Essence §3 | |
| A reaction: This isn't far off what Aristotle had in mind, when he talks of forms as being 'principles', though there is more emphasis on mechanisms in the original idea. Note that Bacon takes laws so literally that he refers to their 'clauses'. |
| 8128 | Representation must be propositional if it can give reasons and be epistemological [McDowell, by Burge] |
| Full Idea: McDowell has claimed that one cannot make sense of representation that plays a role in epistemology unless one takes the representation to be propositional, and thus capable of yielding reasons. | |
| From: report of John McDowell (Mind and World [1994]) by Tyler Burge - Philosophy of Mind: 1950-2000 p.456 | |
| A reaction: A transcendental argument leads back to a somewhat implausible conclusion. I suspect that McDowell has a slightly inflated (Kantian) notion of the purity of the 'space of reasons'. Do philosophers just imagine their problems? |
| 19092 | There is no pure Given, but it is cultured, rather than entirely relative [McDowell, by Macbeth] |
| Full Idea: McDowell argues that the Myth of the Given shows not that there is no content to a concept that is not a matter of its inferential relations to other concepts but only that awareness of the sort that we enjoy ...is acquired in the course of acculturation. | |
| From: report of John McDowell (Mind and World [1994]) by Danielle Macbeth - Pragmatism and Objective Truth p.185 | |
| A reaction: The first view is of Wilfred Sellars, who derives pragmatic relativism from his rejection of the Myth. This idea is helpful is seeing why McDowell has a good proposal. As I look out of my window, my immediate experience seems 'cultured'. |
| 8253 | Sense impressions already have conceptual content [McDowell] |
| Full Idea: The world's impressions on our senses are already possessed of conceptual content. | |
| From: John McDowell (Mind and World [1994], I.6) | |
| A reaction: This is a key idea of McDowell's, which challenges most traditional empiricist views, and (maybe) offers a solution to the rationalist/empiricist debate. His commitment to the 'space of reasons' strikes me as an optional extra. |
| 21950 | Science must clear away the idols of the mind if they are ever going to find the truth [Bacon] |
| Full Idea: We must clear away the idols and false notions which are now in possession of the human understanding, and have taken deep root therein, and so beset men's minds that truth can hardly find an entrance. | |
| From: Francis Bacon (The New Organon [1620], 38), quoted by Mark Wrathall - Heidegger: how to read 2 | |
| A reaction: [He goes on to list the types of idol] |
| 8254 | Forming concepts by abstraction from the Given is private definition, which the Private Lang. Arg. attacks [McDowell] |
| Full Idea: The idea that concepts can be formed by abstraction from the Given just is the idea of private ostensive definition. So the Private Language Argument just is the rejection of the Given, in so far as it bears on the possibilities for language. | |
| From: John McDowell (Mind and World [1994], I.7) | |
| A reaction: I'm not clear why the process of abstraction from raw impressions shouldn't be a matter of public, explicit, community negotiation. We seem to be able to share and compare fairly raw impressions without much trouble (discussing sunsets). |
| 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? |