10 ideas
| 3271 | We can't control our own beliefs [Nagel] |
| Full Idea: Our beliefs are always due to factors outside of our control. | |
| From: Thomas Nagel (Moral Luck [1976], p.27) |
| 3488 | Freud treats the unconscious as intentional and hence mental [Freud, by Searle] |
| Full Idea: Freud thinks that our unconscious mental states exist as occurrent intrinsic intentional states even when unconscious. Their ontology is that of the mental, even when they are unconscious. | |
| From: report of Sigmund Freud (works [1900]) by John Searle - The Rediscovery of the Mind Ch. 7.V | |
| A reaction: Searle states this view in order to attack it. Whether such states are labelled as 'mental' seems uninteresting. Whether unconscious states can be intentional is crucial, and modern scientific understanding of the brain strongly suggest they can. |
| 5689 | Freud and others have shown that we don't know our own beliefs, feelings, motive and attitudes [Freud, by Shoemaker] |
| Full Idea: Freud persuaded many that beliefs, wishes and feelings are sometimes unconscious, and even sceptics about Freud acknowledge that there is self-deception about motive and attitudes. | |
| From: report of Sigmund Freud (works [1900]) by Sydney Shoemaker - Introspection p.396 | |
| A reaction: This seems to me obviously correct. The traditional notion is that the consciousness is the mind, but now it seems obvious that consciousness is only one part of the mind, and maybe even a peripheral (epiphenomenal) part of it. |
| 23950 | Freud said passions are pressures of some flowing hydraulic quantity [Freud, by Solomon] |
| Full Idea: Freud argued that the passions in general …were the pressures of a yet unknown 'quantity' (which he simply designated 'Q'). He first thought this flowed through neurones, …and always couched the idea in the language of hydraulics. | |
| From: report of Sigmund Freud (works [1900]) by Robert C. Solomon - The Passions 3.4 | |
| A reaction: This is the main target of Solomon's criticism, because its imagery has become so widespread. It leads to talk of suppressing emotions, or sublimating them. However, it is not too different from Nietzsche's 'drives' or 'will to power'. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 22344 | Freud is pessimistic about human nature; it is ambivalent motive and fantasy, rather than reason [Freud, by Murdoch] |
| Full Idea: Freud takes a thoroughly pessimistic view of human nature. ...Introspection reveals only the deep tissue of ambivalent motive, and fantasy is a stronger force than reason. Objectivity and unselfishness are not natural to human beings. | |
| From: report of Sigmund Freud (works [1900], II) by Iris Murdoch - The Sovereignty of Good II | |
| A reaction: Interesting. His view seems to have coloured the whole of modern culture, reinforced by the hideous irrationality of the Nazis. Adorno and Horkheimer attacking the Enlightenment was the last step in that process. |
| 3272 | Moral luck can arise in character, preconditions, actual circumstances, and outcome [Nagel] |
| Full Idea: Moral luck involves one's character, the antecedent circumstances of the act, the actual circumstances of the act, and the outcome of the act. | |
| From: Thomas Nagel (Moral Luck [1976], p.28) | |
| A reaction: Meaning, I take it, that there can be luck in any one of those four. A neat slicing up that doesn't quite fit the real world, where things flow. Helpful, though. |