9 ideas
| 15570 | Phenomenology is the science of essences - necessary universal structures for art, representation etc. [Husserl, by Polt] |
| Full Idea: For Husserl, phenomenology must seek the essential aspects of phenomena - necessary, universal structures, such as the essence of art or the essence of representation. He sought a science of these essences. | |
| From: report of Edmund Husserl (Logical Investigations [1900]) by Richard Polt - Heidegger: an introduction 2 'Dilthey' |
| 7614 | Bracketing subtracts entailments about external reality from beliefs [Husserl, by Putnam] |
| Full Idea: In effect, the device of bracketing subtracts entailments from the ordinary belief locution (the entailments that refer to what is external to the thinker's mind). | |
| From: report of Edmund Husserl (Logical Investigations [1900]) by Hilary Putnam - Reason, Truth and History Ch.2 | |
| A reaction: This seems to leave phenomenology as pure introspection, or as a phenomenalist description of sense-data. It is also a refusal to explain anything. That sounds quite appealing, like Keats's 'negative capability'. |
| 6893 | Phenomenology aims to describe experience directly, rather than by its origins or causes [Husserl, by Mautner] |
| Full Idea: Phenomenology, in Husserl, is an attempt to describe our experience directly, as it is, separately from its origins and development, independently of the causal explanations that historians, sociologists or psychologists might give. | |
| From: report of Edmund Husserl (Logical Investigations [1900]) by Thomas Mautner - Penguin Dictionary of Philosophy p.421 | |
| A reaction: In this simple definition the concept sounds very like the modern popular use of the word 'deconstruction', though that is applied more commonly to cultural artifacts than to actual sense experience. |
| 21216 | Husserl says we have intellectual intuitions (of categories), as well as of the senses [Husserl, by Velarde-Mayol] |
| Full Idea: The novelty of Husserl is to describe that we have intellectual intuitions, intuitions of categories as we have intuitions of sense objects. | |
| From: report of Edmund Husserl (Logical Investigations [1900], II.VI.24) by Victor Velarde-Mayol - On Husserl 2.4.4 | |
| A reaction: This is 'intuitions' in Kant's sense, of something like direct apprehensions. This idea is an axiom of phenomenology, because all mental life must be bracketed, and not just the sense experience part. |
| 8840 | There are five possible responses to the problem of infinite regress in justification [Cleve] |
| Full Idea: Sceptics respond to the regress problem by denying knowledge; Foundationalists accept justifications without reasons; Positists say reasons terminate is mere posits; Coherentists say mutual support is justification; Infinitists accept the regress. | |
| From: James Van Cleve (Why coherence is not enough [2005], I) | |
| A reaction: A nice map of the territory. The doubts of Scepticism are not strong enough for anyone to embrace the view; Foundationalist destroy knowledge (?), as do Positists; Infinitism is a version of Coherentism - which is the winner. |
| 8841 | Modern foundationalists say basic beliefs are fallible, and coherence is relevant [Cleve] |
| Full Idea: Contemporary foundationalists are seldom of the strong Cartesian variety: they do not insist that basic beliefs be absolutely certain. They also tend to allow that coherence can enhance justification. | |
| From: James Van Cleve (Why coherence is not enough [2005], III) | |
| A reaction: It strikes me that they have got onto a slippery slope. How certain are the basic beliefs? How do you evaluate their certainty? Could incoherence in their implications undermine them? Skyscrapers need perfect foundations. |
| 7276 | All art is quite useless [Wilde] |
| Full Idea: All art is quite useless. | |
| From: Oscar Wilde (Preface to 'Dorian Gray' [1891]) | |
| A reaction: Echoes Kant's thought that art is 'purposive without purpose'. Although I find Wilde's claims that morality has nothing to do with art to be naïve, I find this remark sympathetic. Art may play with moral feelings, but is unlikely to affect actions. |
| 7274 | Books are only well or badly written, not moral or immoral [Wilde] |
| Full Idea: There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. | |
| From: Oscar Wilde (Preface to 'Dorian Gray' [1891]) | |
| A reaction: This is simply false. Novels that are viciously (or subtly) racist, sexist, homophobic, or egotistical can obviously be immoral. I could write a nasty story about Oscar Wilde. It might, though, be very well written. If life is moral, so are novels. |
| 7275 | Having ethical sympathies is a bad mannerism of style in an artist [Wilde] |
| Full Idea: No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. | |
| From: Oscar Wilde (Preface to 'Dorian Gray' [1891]) | |
| A reaction: This has a Nietzschean suggestion that the artist is 'beyond good and evil', and operates on some higher level of values, which in Wilde's case seem to be purely aesthetic. You can't justify a callous murder by executing it beautifully. |