Combining Texts

All the ideas for 'Lectures on the History of Philosophy', 'In Praise of Philosophy' and 'Introductions to 'Aesthetics and the Phil of Art''

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5 ideas

1. Philosophy / D. Nature of Philosophy / 3. Philosophy Defined

21757	Philosophy is the conceptual essence of the shape of history [Hegel]
	Full Idea: Philosophy is the supreme blossom - the concept - of the entire shape of history, the consciousness and the spiritual essence of the whole situation, the spirit of the age as the spirit present and aware of itself in thought.
	From: Georg W.F.Hegel (Lectures on the History of Philosophy [1830], p.25), quoted by Stephen Houlgate - An Introduction to Hegel 01
	A reaction: This sees philosophy as intrinsically historical, which is a founding idea for 'continental' philosophy. Analysis is tied to science, in which the history of the subject is seen as irrelevant to its truth. Does this mean we can't go back to Aristotle?

1. Philosophy / D. Nature of Philosophy / 5. Aims of Philosophy / d. Philosophy as puzzles

21239	Philosophers are marked by a joint love of evidence and ambiguity [Merleau-Ponty]
	Full Idea: The philosopher is marked by the distinguishing trait that he possesses inseparably the taste for evidence and the feeling for ambiguity.
	From: Maurice Merleau-Ponty (In Praise of Philosophy [1953], p.4), quoted by Sarah Bakewell - At the Existentialist Café 11
	A reaction: I strongly approve of the idea that philosophers are primarily interested in evidence (rather than reason or logic), and I also like the idea that the ambiguous evidence is the most interesting. The mind looks physical and non-physical.

21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics

20327	Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson]
	Full Idea: In modern discussions, rather than look for intrinsic properties of objects, including aesthetic or formal properties, attention has turned to extrinsic or relational properties, notably of a social, historical, or 'institutional' nature.
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
	A reaction: Lots of modern branches of philosophy have made this move, which seems to me like a defeat. We want to know why things have the relations they do. Just mapping the relations is superficial Humeanism.

21. Aesthetics / B. Nature of Art / 1. Defining Art

20326	Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson]
	Full Idea: In the early twentieth century there were numerous attempts at defining the essence art. Significant form, intuition, the expression of emotion, organic unity, and other notions, were offered to this end.
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
	A reaction: As far as I can see the whole of aesthetics was demolished in one blow by Marcel Duchamp's urinal. Artists announce: we will tell you what art is; you should just sit and listen. Compare the invention of an anarchic sport.

21. Aesthetics / B. Nature of Art / 7. Ontology of Art

20330	The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson]
	Full Idea: The dualistic view of the arts holds that works of art come in two fundamentally different kinds: those that are abstract entities, i.e. types, and those that are physical objects (tokens).
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 2)
	A reaction: Paintings are the main reason for retaining physical objects. Strawson 1974 argues that paintings are only physical because we cannot yet perfectly reproduce them. I agree. Works of art are types, not tokens.