17 ideas
| 20455 | Philosophy really got started as the rival mode of discourse to tragedy [Critchley] |
| Full Idea: The pre-Socratics are interesting, but philosophy really begins in drama; it's a competitive discourse to tragedy. Which is why Plato's 'Republic' excludes the poets: they're the competition; gotta get rid of them. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 6) | |
| A reaction: That's an interesting and novel perspective. So what was the 'discourse' of tragedy saying, and why did that provoke the new rival? Was it too fatalistic? |
| 20446 | Philosophy begins in disappointment, notably in religion and politics [Critchley] |
| Full Idea: I claim that philosophy begins in disappointment, and there are two forms of disappointment that interest me: religious and political disappointment | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 2) | |
| A reaction: You are only disappointed by reality if you expected something better. To be disappointed by the failures of religion strikes me as rather old-fashioned, which Critchley sort of admits. Given the size and tumult of modern states, politics isn't promising. |
| 20449 | Science gives us an excessively theoretical view of life [Critchley] |
| Full Idea: One of the problems with the scientific worldview is that it leads human beings to have an overwhelmingly theoretical relationship to the world. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 2) | |
| A reaction: Critchley is defending phenomenology, but this also supports its cousin, existentialism. I keep meeting bright elderly men who have immersed themselves in the study of science, and they seem very remote from the humanist culture I love. |
| 20448 | Phenomenology uncovers and redescribes the pre-theoretical layer of life [Critchley] |
| Full Idea: Phenomenology is a philosophical method that tries to uncover the pre-theoretical layer of human experience and redescribe it. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 2) | |
| A reaction: I would be delighted if someone could tell me what this means in practice. I have the impression of lots of talk about phenomenology, but not much doing of it. Clearly I must enquire further. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 20454 | Wallace Stevens is the greatest philosophical poet of the twentieth century in English [Critchley] |
| Full Idea: Wallace Stevens is the greatest philosophical poet of the twentieth century in the English language - full stop - in my humble opinion. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 6) | |
| A reaction: I include this because I tend to agree, and love Stevens. Hear recordings of him reading. I once mentioned Stevens in a conversation with Ted Hughes, and he just shrugged and said Stevens 'wasn't much of a poet'. Wrong. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 20456 | Interesting art is always organised around ethical demands [Critchley] |
| Full Idea: I don't think that art can be unethical. I think that interesting art is always ethical. It is organised around ethical demands. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 8) | |
| A reaction: It is a struggle to make this fit instrumental music. Critchley likes punk rock, so he might not see the problem. How to compare Bachian, Mozart, Beethovenian and Debussyian ethics? Not impossible. |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 20447 | The problems is not justifying ethics, but motivating it. Why should a self seek its good? [Critchley] |
| Full Idea: The issue is not so much justification as motivation, that in virtue of which the self can be motivated to act on some conception of the good. ...How does a self bind itself to whatever it determines as its good? | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 2) | |
| A reaction: That is a bold and interesting idea about the starting point for ethics. It is always a problem for Aristotle, that he can offer no motivation for the quest for virtue. Contractarians start from existing motivations, but that isn't impressive. |
| 20957 | We don't choose our characters, yet we still claim credit for the actions our characters perform [Schelling] |
| Full Idea: Nobody has chosen their character; and yet this does not stop anybody attributing the action which follows from his character to themself as a free action. | |
| From: Friedrich Schelling (The Ages of the World [1810], I.93) | |
| A reaction: This pinpoints a very nice ambivalence about our attitudes to our own characters. We all have some pride and shame about who we are, without having chosed who we are. At least when we are young. But we make the bed we lie in. |
| 20452 | Anarchism used to be libertarian (especially for sexuality), but now concerns responsibility [Critchley] |
| Full Idea: Anarchism in the 1960s was libertarian and organised around issues of sexual liberation. That moment has passed. People are and should be organising around responsibility. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 3) | |
| A reaction: So there are two types of anarchism, focused on freedom or on responsibility. An organisation like Greenpeace might represent the latter. |
| 20450 | The state, law, bureaucracy and capital are limitations on life, so I prefer federalist anarchism [Critchley] |
| Full Idea: I begin with the ontological premise that the state is a limitation on human existence. I am against the state, law, bureaucracy, and capital. I see anarchism as the only desirable way of organising, politically. ...Its political form is federalist. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 3) | |
| A reaction: Hm. Some sympathy, but caution. All systems, even federalist anarchism, are limitations on our lives, so which limitations do we prefer? The law aspires to a calm egalitarian neutrality, which seems promising to me. |
| 20451 | Belief that humans are wicked leads to authoritarian politics [Critchley] |
| Full Idea: If you think human beings are wicked, you turn to an authoritarian conception of politics, the Hobbesian-Machiavellian-Straussian lie. | |
| From: Simon Critchley (Impossible Objects: interviews [2012], 3) | |
| A reaction: Right-wingers also tend to believe in free will, so they can blame and punish. Good people are more inspired by a great leader than bad people are? (Later, Critchley says authoritarians usually believe in original sin). |