26 ideas
| 22024 | Fichte's subjectivity struggles to then give any account of objectivity [Pinkard on Fichte] |
| Full Idea: For Fichte 'subjectivity' came first, and he was then stuck with the (impossible) task of showing how 'objectivity' arose out of it. | |
| From: comment on Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Terry Pinkard - German Philosophy 1760-1860 06 | |
| A reaction: The best available answer to this problem (for idealists) is, I think, Nietzsche's perspectives, in which multiple subjectivities are summed to produce a blurred picture which has a degree of consensus. Fichte later embraced other minds. |
| 13827 | Logical consequence isn't a black box (Tarski's approach); we should explain how arguments work [Prawitz] |
| Full Idea: Defining logical consequence in the way Tarski does is a rather meagre result, treating an argument as a black box, observing input and output, while disregarding inner structure. We should define logical consequence on the basis of valid arguments. | |
| From: Dag Prawitz (On the General Idea of Proof Theory [1974], §2) |
| 22017 | Normativity needs the possibility of negation, in affirmation and denial [Fichte, by Pinkard] |
| Full Idea: To adopt any kind of normative stance is to commit oneself necessarily to the possibility of negation. It involves doing something correctly or incorrectly, so there must exist the possibility of denying or affirming. | |
| From: report of Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Terry Pinkard - German Philosophy 1760-1860 05 | |
| A reaction: This seems to be the key idea for understanding Hegel's logic. Personally I think animals have a non-verbal experience of negation - when a partner dies, for example. |
| 13826 | Model theory looks at valid sentences and consequence, but not how we know these things [Prawitz] |
| Full Idea: In model theory, which has dominated the last decades, one concentrates on logically valid sentences, and what follows logically from what, but one disregards questions concerning how we know these things. | |
| From: Dag Prawitz (On the General Idea of Proof Theory [1974], §1) |
| 22018 | Necessary truths derive from basic assertion and negation [Fichte, by Pinkard] |
| Full Idea: Fichte thought that everything that involves necessary truths - even mathematics and logic - should be shown to follow from the more basic principles involved in assertion and negation. | |
| From: report of Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Terry Pinkard - German Philosophy 1760-1860 05 | |
| A reaction: An interesting proposal, though I am struggling to see how it works. Fichte sees assertion and negation as foundational (Idea 22017), but I take them to be responses to the real world. |
| 22064 | Fichte's logic is much too narrow, and doesn't deduce ethics, art, society or life [Schlegel,F on Fichte] |
| Full Idea: Only Fichte's principles are deduced in his book, that is, the logical ones, and not even these completely. And what about the practical, the moral and ethical ones. Society, learning, wit, art, and so on are also entitled to be deduced here. | |
| From: comment on Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Friedrich Schlegel - works Vol 18 p.34 | |
| A reaction: This is the beginnings of the romantic rebellion against a rather narrowly rationalist approach to philosophy. Schlegel also objects to the fact that Fichte only had one axiom (presumably the idea of the not-Self). |
| 22032 | Fichte's key claim was that the subjective-objective distinction must itself be subjective [Fichte, by Pinkard] |
| Full Idea: Fichte's key claim was that the difference between the subjective and the objective points of view had to be itself a subjective distinction, something that the 'I' posits. | |
| From: report of Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Terry Pinkard - German Philosophy 1760-1860 09 | |
| A reaction: This seems to lock us firmly into the idealist mental prison and throw away the key. |
| 22020 | We only see ourselves as self-conscious and rational in relation to other rationalities [Fichte] |
| Full Idea: A rational creature cannot posit itself as such a creature with self-consciousness without positing itself as an individual, as one among many rational creatures. | |
| From: Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794], p.8), quoted by Terry Pinkard - German Philosophy 1760-1860 05 n25 | |
| A reaction: [1796 book about his Wissenschaftlehre] This is the transcendental (Kantian) approach to other minds. Wittgenstein's private language argument is similar. Hegel was impressed by this idea (I think). |
| 22060 | The Self is the spontaneity, self-relatedness and unity needed for knowledge [Fichte, by Siep] |
| Full Idea: According to Fichte, spontaneity, self-relatedness, and unity are the basic traits of knowledge (which includes conscience). ...This principle of all knowledge is what he calls the 'I' or the Self. | |
| From: report of Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Ludwig Siep - Fichte p.58 | |
| A reaction: This is the idealist view. He gets 'spontaneity' from Kant, which is the mind's contribution to experience. Self-relatedness is the distinctive Fichte idea. Unity presumably means total coherence, which is typical of idealists. |
| 22066 | Novalis sought a much wider concept of the ego than Fichte's proposal [Novalis on Fichte] |
| Full Idea: Novalis aimed to create a theory of the ego with a much wider scope than Fichte's doctrine of knowledge had been able to establish. ....Without philosophy, imperfect poet - without poetry, imperfect thinker. | |
| From: comment on Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Novalis - Logological Fragments I vol.3 p.531 | |
| A reaction: [in his 'Fichte Studies] Since this is at the heart of early romanticism, I take the concept to embrace nature, as well as creative imagination. There is a general rebellion against the narrowness of Fichte. |
| 22016 | The self is not a 'thing', but what emerges from an assertion of normativity [Fichte, by Pinkard] |
| Full Idea: Fichte said the self is not a natural 'thing' but is itself a normative status, and 'it' can obtain this status, so it seems, only by an act of attributing it to itself. ...He continually identified the 'I' with 'reason' itself. | |
| From: report of Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Terry Pinkard - German Philosophy 1760-1860 05 | |
| A reaction: Pinkard says Fichte gradually qualified this claim. Fichte struggled to state his view in a way that avoided obvious paradoxes. 'My mind produces decisions, so there must be someone in charge of them'? Is this transcendental? |
| 22019 | Consciousness of an object always entails awareness of the self [Fichte] |
| Full Idea: I can be conscious of any object only on the condition that I am also conscious of myself, that is, of the conscious subject. This proposition is incontrovertible. | |
| From: Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794], p.112), quoted by Terry Pinkard - German Philosophy 1760-1860 05 | |
| A reaction: [from the 1797/8 version of Wissenschaftslehre] Russell might be cross to find that his idea on this was anticipated by Fichte. I still approve of the idea. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 22061 | Judgement is distinguishing concepts, and seeing their relations [Fichte, by Siep] |
| Full Idea: For Fichte, to judge means to distinguish concepts from one another and to place them in relationship to one another. | |
| From: report of Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Ludwig Siep - Fichte p.59 | |
| A reaction: This idea of Fichte's seems to be the key one for Hegel, and hence (I presume) it is the lynchpin of German Idealism. It seems to describe mathematical knowledge quite well. I don't think it fits judging whether there is a snake in the grass. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 22023 | Fichte's idea of spontaneity implied that nothing counts unless we give it status [Fichte, by Pinkard] |
| Full Idea: Fichte placed emphasis on human spontaneity, on nothing 'counting' for us unless we somehow bestowed some kind of status on it. | |
| From: report of Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Terry Pinkard - German Philosophy 1760-1860 06 | |
| A reaction: This idea evidentally arises from Kant's account of thought. Pinkard says this idea inspired the early Romantics. I would have thought the drive to exist (Spinoza's conatus) would make things count whether we liked it or not. |
| 22065 | Fichte reduces nature to a lifeless immobility [Schlegel,F on Fichte] |
| Full Idea: Fichte reduces the non-Ego or nature to a state of constant calm, standstill, immobility, lack of all change, movement and life, that is death. | |
| From: comment on Johann Fichte (The Science of Knowing (Wissenschaftslehre) [1st ed] [1794]) by Friedrich Schlegel - works vol 12 p.190 | |
| A reaction: The point is that Fichte's nature is a merely logical or conceptual deduction from the spontaneous reason of the self, so it can't have the lively diversity we find in nature. |