14 ideas
| 7426 | Critical philosophy is what questions domination at every level [Foucault] |
| Full Idea: In its critical aspect, philosophy is that which calls into question domination at every level | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.300) | |
| A reaction: A very French view of the subject. It is tempting to say that they had their adolescent outburst in 1789, and it is time to grow up. With rights come responsibilities... |
| 7423 | Philosophy and politics are fundamentally linked [Foucault] |
| Full Idea: The relationship between philosophy and politics is permanent and fundamental. | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.293) | |
| A reaction: This idea is one of the biggest gulfs between continental and analytical philosophy. Many aspects of philosophy are turning out to be much more social than analytical philosophers might have thought - epistemology, for example. |
| 7420 | When logos controls our desires, we have actually become the logos [Foucault] |
| Full Idea: Plutarch says if you have mastered principles then logos will silence your desires like a master silencing a dog - in which case the logos functions without intervention on your part - you have become the logos, or the logos has become you. | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.286) | |
| A reaction: If you believe that logos is pure reason, you might be quite happy with this, but if you thought it was a cultural construct, you might feel that you had been cunningly enslaved. If I ask 'what is 7+6?', logos interrupts me to give the answer. |
| 10245 | One geometry cannot be more true than another [Poincaré] |
| Full Idea: One geometry cannot be more true than another; it can only be more convenient. | |
| From: Henri Poincaré (Science and Method [1908], p.65), quoted by Stewart Shapiro - Philosophy of Mathematics | |
| A reaction: This is the culminating view after new geometries were developed by tinkering with Euclid's parallels postulate. |
| 7424 | Saying games of truth were merely power relations would be a horrible exaggeration [Foucault] |
| Full Idea: When I talk about power relations and games of truth, I am absolutely not saying that games of truth are just concealed power relations - that would be a horrible exaggeration. | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.296) | |
| A reaction: I take this to be a denial of the more absurd forms of relativism. I think there is an interesting convergence between this kind of continental thinking, and the social view of justification found in the later work of Alvin Goldman. |
| 7422 | A subject is a form which can change, in (say) political or sexual situations [Foucault] |
| Full Idea: The subject is not a substance but a form, which is not always identical to itself. You do not have the same relation to yourself when you go to vote and when you seek to fulfil your desires in a sexual relationship. | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.290) | |
| A reaction: I don't think I believe this. If it were true, the concept of 'sexual politics' would mean nothing to me. A brutal or sympathetic nature is likely to express itself in both situations. |
| 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? |
| 7419 | Ethics is the conscious practice of freedom [Foucault] |
| Full Idea: What is ethics, if not the practice of freedom, the conscious [réfléchie] practice of freedom? | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.284) | |
| A reaction: Makes Foucault sound very existentialist. I'm not sure I understand this kind of remark, given that serial killers seem to be exceptionally good at 'practising their freedom'. However, the idea is akin to Kant's notion of a truly good will (Idea 3710). |
| 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. |
| 7425 | The aim is not to eliminate power relations, but to reduce domination [Foucault] |
| Full Idea: The problem is not to dissolve power relations in a utopia of transparent communications, but to acquire the rules of law, the management techniques, the morality, the practice of the self, that allows games of power with minimum domination. | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.298) | |
| A reaction: If you are a democrat it is hard to disagree with this, though I am still unclear why being dominated should rank as a total disaster. A healthy personal relationship might involve domination. 'Management techniques' is interesting. |
| 7418 | The idea of liberation suggests there is a human nature which has been repressed [Foucault] |
| Full Idea: I am somewhat suspicious of the notion of liberation, because one runs the risk of falling back on the idea that there is a human nature, that has been concealed or alienated by mechanisms of repression. | |
| From: Michel Foucault (Ethics of the Concern for Self as Freedom [1984], p.282) | |
| A reaction: Personally I think there is (to some extent) a human nature, and that it fails to flourish if it gets too much 'liberation. However, the world contains a lot more repression than liberation, so we should all be fans of liberty. |