30 ideas
| 19441 | All philosophies presuppose their historical moment, and arise from it [Feuerbach] |
| Full Idea: Every philosophy originates as a manifestation of its time; its origin presupposes its historical time. | |
| From: Ludwig Feuerbach (Towards a Critique of Hegel's Philosophy [1839], p.59) | |
| A reaction: There seems to be widespread agreement among continental philosophers about this idea, whereas analytic philosophers largely ignore, and treat Plato as if he were a current professor in Chicago. |
| 19442 | I don't study Plato for his own sake; the primary aim is always understanding [Feuerbach] |
| Full Idea: Plato in writing is only a means for me; that which is primary and a priori, that which is the ground to which all is ultimately referred, is understanding. | |
| From: Ludwig Feuerbach (Towards a Critique of Hegel's Philosophy [1839], p.63) | |
| A reaction: It always seems to that the main aim of philosophy is understanding - which is why its central activity is explanation. |
| 3035 | Dialectic involves conversations with short questions and brief answers [Diog. Laertius] |
| Full Idea: Dialectic is when men converse by putting short questions and giving brief answers to those who question them. | |
| From: Diogenes Laertius (Lives of Eminent Philosophers [c.250], 3.1.52) |
| 19444 | Each proposition has an antithesis, and truth exists as its refutation [Feuerbach] |
| Full Idea: Every intellectual determination has its antithesis, its contradiction. Truth exists not in unity with, but in refutation of its opposite. | |
| From: Ludwig Feuerbach (Towards a Critique of Hegel's Philosophy [1839], p.72) | |
| A reaction: This appears to be a rejection of the 'synthesis' in Hegel, in favour of what strikes me as a rather more sensible interpretation of the modern dialectic. Being exists in contrast to nothingness, and truth exists in contrast to its negation? |
| 19445 | A dialectician has to be his own opponent [Feuerbach] |
| Full Idea: A thinker is a dialectician only insofar as he is his own opponent. | |
| From: Ludwig Feuerbach (Towards a Critique of Hegel's Philosophy [1839], p.72) | |
| A reaction: Quite an inspirational slogan for beginners in philosophy. How many non-philosophers are willing to be their own opponent. In law courts and the House of Commons we assign the roles to separate persons. Hence rhetoric replaces reason? |
| 19443 | Truth forges an impersonal unity between people [Feuerbach] |
| Full Idea: The urge to communicate is a fundamental urge - the urge for truth. ...That which is true belongs neither to me nor exclusively to you, but is common to all. The thought in which 'I' and 'You' are united is a true thought. | |
| From: Ludwig Feuerbach (Towards a Critique of Hegel's Philosophy [1839], p.65) | |
| A reaction: Sceptics may doubt that there are such truths, but this is certainly how we experience agreement - that there is some truth shared between us which is no longer the possession of either of us. Nice idea. |
| 19446 | To our consciousness it is language which looks unreal [Feuerbach] |
| Full Idea: To sensuous consciousness it is precisely language that is unreal, nothing. | |
| From: Ludwig Feuerbach (Towards a Critique of Hegel's Philosophy [1839], p.77) | |
| A reaction: Offered as a corrective to the view that our ontological commitments entirely concern what we are willing to say. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 19447 | The Absolute is the 'and' which unites 'spirit and nature' [Feuerbach] |
| Full Idea: The Absolute is spirit and nature. ...But what then is the Absolute? Nothing other than this 'and', that is, the unity of spirit and nature. | |
| From: Ludwig Feuerbach (Towards a Critique of Hegel's Philosophy [1839], p.82) | |
| A reaction: This is Feuerbach's spin on Hegel. He has been outlining idealist philosophy and the philosophy of nature in Schelling. Is this Spinoza's one substance? |
| 1816 | Sceptics say demonstration depends on self-demonstrating things, or indemonstrable things [Diog. Laertius] |
| Full Idea: Sceptics say that every demonstration depends on things which demonstrates themselves, or on things which can't be demonstrated. | |
| From: Diogenes Laertius (Lives of Eminent Philosophers [c.250], 9.Py.11) | |
| A reaction: This refers to two parts of Agrippa's Trilemma (the third being that demonstration could go on forever). He makes the first option sound very rationalist, rather than experiential. |
| 1819 | Scepticism has two dogmas: that nothing is definable, and every argument has an opposite argument [Diog. Laertius] |
| Full Idea: Sceptics actually assert two dogmas: that nothing should be defined, and that every argument has an opposite argument. | |
| From: Diogenes Laertius (Lives of Eminent Philosophers [c.250], 9.Py.11) |
| 3064 | When sceptics say that nothing is definable, or all arguments have an opposite, they are being dogmatic [Diog. Laertius] |
| Full Idea: When sceptics say that they define nothing, and that every argument has an opposite argument, they here give a positive definition, and assert a positive dogma. | |
| From: Diogenes Laertius (Lives of Eminent Philosophers [c.250], 9.11.11) |
| 3033 | Induction moves from some truths to similar ones, by contraries or consequents [Diog. Laertius] |
| Full Idea: Induction is an argument which by means of some admitted truths establishes naturally other truths which resemble them; there are two kinds, one proceeding from contraries, the other from consequents. | |
| From: Diogenes Laertius (Lives of Eminent Philosophers [c.250], 3.1.23) |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 1838 | Cyrenaic pleasure is a motion, but Epicurean pleasure is a condition [Diog. Laertius] |
| Full Idea: Cyrenaics place pleasure wholly in motion, whereas Epicurus admits it as a condition. | |
| From: Diogenes Laertius (Lives of Eminent Philosophers [c.250], 10.28) | |
| A reaction: Not a distinction we meet in modern discussions. Do events within the mind count as 'motion'? If so, these two agree. If not, I'd vote for Epicurus. |
| 1769 | Cynics believe that when a man wishes for nothing he is like the gods [Diog. Laertius] |
| Full Idea: Cynics believe that when a man wishes for nothing he is like the gods. | |
| From: Diogenes Laertius (Lives of Eminent Philosophers [c.250], 6.Men.3) |