56 ideas
| 22223 | Being-in-the-world is projection to possibilities, thrownness among them, and fallenness within them [Heidegger, by Caputo] |
| Full Idea: Being-in-the-world is a phenomenon of 'care' with a tripartite structure: a) projection towards its possibilities, b) thrownness among those possibilities, so Dasein is not free, and c) fallenness among worldly possibilities, to neglect of its own. | |
| From: report of Martin Heidegger (Being and Time [1927]) by John D. Caputo - Heidegger p.227 | |
| A reaction: Sounds a bit Californian to me. Just living among the world's possibilities is evidently a bad thing, because you could be concentrating on yourself and your own development instead? |
| 22158 | Pheomenology seeks things themselves, without empty theories, problems and concepts [Heidegger] |
| Full Idea: 'Phenomenology' can be formulated as 'To the things themselves!' It is opposed to all free-floating constructions and accidental findings, and to conceptions which only seem to have been demonstrated. It is opposed to traditiona' pseudo-problems. | |
| From: Martin Heidegger (Being and Time [1927], Intro II.07) | |
| A reaction: It sounds as if we are invited to look at the world the way a dog might look at it. I am not at all clear what it to be gained from this approach. |
| 15574 | 'Logos' really means 'making something manifest' [Heidegger, by Polt] |
| Full Idea: Heidegger concludes that 'logos' essentially means 'making something manifest'. | |
| From: report of Martin Heidegger (Being and Time [1927], 56/33) by Richard Polt - Heidegger: an introduction 3.§7 | |
| A reaction: It would at least seem to involve revealing the truth of something, though truth doesn't seem to be central to Heidegger's thought. 'Logos' is often translated as 'an account', as well as a 'reason', so Heidegger may be right. |
| 15569 | Heidegger says truth is historical, and never absolute [Heidegger, by Polt] |
| Full Idea: Heidegger is a relentless enemy of ahistorical, absolutist concepts of truth. | |
| From: report of Martin Heidegger (Being and Time [1927]) by Richard Polt - Heidegger: an introduction 1 | |
| A reaction: I presume that if truth is not absolute then it must be relative, but Polt is a little coy about saying so. For me, anyone who says truth is relative doesn't understand the concept, and is talking about something else. |
| 21897 | Reducing being to the study of beings too readily accepts the modern scientific view [Heidegger, by May] |
| Full Idea: Continental philosophers, following Heidegger, see in the attempt to reduce the question of being to that of beings a symptom of an age that is too ready to accept the terms in which science conceives the world. | |
| From: report of Martin Heidegger (Being and Time [1927]) by Todd May - Gilles Deleuze 1.04 | |
| A reaction: Interesting. I take the idea that this is a failing of the modern age to be ridiculous, since I take it to be the key metaphysical move made by Aristotle. Neverthless, Aristotle is closely in tune with modern science. For 'beings', read 'objects'. |
| 15573 | For us, Being is constituted by awareness of other sorts of Being [Heidegger] |
| Full Idea: We are Dasein - the entity who possesses - as constitutive for its understanding of existence - an understanding of the Being of all entities of a character other than its own. | |
| From: Martin Heidegger (Being and Time [1927], 34/13), quoted by Richard Polt - Heidegger: an introduction 3.§4 | |
| A reaction: This seems to connect to the emerging 'externalist' view of mind that comes with the external view of content coming from Purnam's Twin Earth idea. |
| 9273 | Heidegger turns to 'Being' to affirm the uniqueness of humans in the world [Heidegger, by Gray] |
| Full Idea: Heidegger turns to 'Being' for the same reason that Christians turn to God - to affirm the unique place of humans in the world. | |
| From: report of Martin Heidegger (Being and Time [1927]) by John Gray - Straw Dogs 2.4 | |
| A reaction: This is the first remark I have encountered that makes sense of Heidegger's Being to me! It places Heidegger as a modernist philosopher, trying to grapple with the decline of religion. I'll stick with Bertrand Russell on that. |
| 22157 | Dasein is a mode of Being distinguished by concern for its own Being [Heidegger] |
| Full Idea: Dasein is an entity which does not just occur among other entities. Rather it is ontically distinguished by the fact that, in its very Being, that Being is an issue for it. | |
| From: Martin Heidegger (Being and Time [1927], Intro I.04) | |
| A reaction: How do you distinguish the Being of normal humans from the Being of someone in a deep coma, who has no existential issues? Has that Dasein ceased to be? Why does angst create a new mode of Being, but flying doesn't? |
| 8137 | Dasein is ahead of itself in the world, and alongside encountered entities [Heidegger] |
| Full Idea: The formal existential totality of Dasein's ontological structural whole is: the Being of Dasein means ahead-of-itself-Being-already-in-(the-world) as Being-alongside (entities encountered within-the-world). | |
| From: Martin Heidegger (Being and Time [1927], I.6 41) | |
| A reaction: If you find that thought really illuminating, you are probably on the wrong website. However, the thought that we exist 'ahead of ourselves' might be a fruitful line for existentialists to explore. |
| 21951 | In company with others one's Dasein dissolves, and even the others themselves dissolve [Heidegger] |
| Full Idea: This being-with-one-another dissolves one's own Dasein completely into the kind of being of 'the others', in such a way, indeed, that the others, as distinguishable and explicit, vanish more and more. | |
| From: Martin Heidegger (Being and Time [1927], p.164), quoted by Mark Wrathall - Heidegger: how to read 5 | |
| A reaction: He seems to be describing the psychology of someone who joins a small crowd which gradually increases in size. I take this relation to others to be the basic existential dilemma, of retaining individual authenticity within a community. |
| 20745 | 'Dasein' expresses not 'what' the entity is, but its being [Heidegger] |
| Full Idea: When we designate this entity with the term 'Dasein' we are expressing not its 'what' (as if it were a table, house, or tree) but its being. | |
| From: Martin Heidegger (Being and Time [1927], p.297), quoted by Kevin Aho - Existentialism: an introduction 2 'Phenomenology' | |
| A reaction: Presumably analytic discussions of persons try to be too objective. Heidegger is trying to capture the thought at the heart of Kierkegaard's existentialism. Objectivity and subjectivity are never in conflict. Is there really a different mode of existence? |
| 8134 | The word 'dasein' is used to mean 'the manner of Being which man possesses', and also the human creature [Heidegger, by Cooper,DE] |
| Full Idea: Heidegger borrows a common German word 'dasein', meaning 'being' or 'existence', to refer both to 'the manner of Being which... man... possesses', and to the creature which possesses it. | |
| From: report of Martin Heidegger (Being and Time [1927], p.32) by David E. Cooper - Heidegger Ch.3 | |
| A reaction: This just strikes me as an elementary ontological mistake. Because something has startling properties it doesn't follow that we have a different type of Being. Magnets don't have a different type of being from ordinary iron. |
| 8135 | 'Dasein' is Being which is laid claim to, and which matters to its owner [Heidegger, by Cooper,DE] |
| Full Idea: We each of us not only have Dasein (our kind of Being), but we can lay claim to it. Also the Dasein of a thing 'is an issue for it' - we care about the kinds of creatures we can make ourselves into. | |
| From: report of Martin Heidegger (Being and Time [1927], p.67) by David E. Cooper - Heidegger Ch.3 | |
| A reaction: Heidegger says other more puzzling things about Dasein. The second half of the idea is what makes Heidegger an existentialist, and an inspiration for Sartre. |
| 21948 | Dasein is being which can understand itself, and possess itself in a way allowing authenticity [Heidegger] |
| Full Idea: Dasein is an entity which, in its very being, comports itself understandingly towards that being. ...Mineness belongs to an existent Dasein, and belongs to it as the condition which makes authenticity and inauthenticity possible. | |
| From: Martin Heidegger (Being and Time [1927], p.78), quoted by Mark Wrathall - Heidegger: how to read 1 | |
| A reaction: He might eventually persuade me that Dasein is so different from mere material being that it deserves a category of its own. But a reductive account of mind is also a reductive account of being. |
| 7680 | Ontology is possible only as phenomenology [Heidegger] |
| Full Idea: Ontology is possible only as phenomenology. | |
| From: Martin Heidegger (Being and Time [1927], p.31), quoted by Dale Jacquette - Ontology Ch.1 | |
| A reaction: Jacquette argues against this claim. The idea seems to be the ultimate extension of Kant, and it is not a big move to say that the only real phenomenology we can discuss is our semantics. Wrong, wrong, wrong. |
| 22161 | Readiness-to-hand defines things in themselves ontologically [Heidegger] |
| Full Idea: Readiness-to-hand is the way in which entities as they are 'in themselves' are defined ontologico-categorially. | |
| From: Martin Heidegger (Being and Time [1927], I.3.15) | |
| A reaction: I assume this is a direct reference to the problem idealists had with the thing-in-itself. It seems that the reality of a thing consists of the strengthened relationship it has with Dasein, which sounds fairly idealist to me. |
| 15576 | Heidegger seeks a non-traditional concept of essence as 'essential unfolding' [Heidegger, by Polt] |
| Full Idea: Heidegger tries to develop a non-traditional concept of essence as 'essential unfolding' ('wesen' as a verb). | |
| From: report of Martin Heidegger (Being and Time [1927], I.4.27) by Richard Polt - Heidegger: an introduction 3.§25-7 |
| 15578 | Propositions don't provide understanding, because the understanding must come first [Heidegger, by Polt] |
| Full Idea: Propositions are not a good clue to the essence of understanding, because we must already understand things before we formulate propositions about them. | |
| From: report of Martin Heidegger (Being and Time [1927], I.5.31) by Richard Polt - Heidegger: an introduction 3.§31-3 | |
| A reaction: I like this, because I think the most important aspects of our thought and understanding are entirely non-verbal - even in cases where they seem to be highly specific and verbal. We don't understand ourselves at all! |
| 22159 | If we posit 'I' as the starting point, we miss the mind's phenomenal content [Heidegger] |
| Full Idea: One of our first tasks will be to prove that if we posit an 'I' or subject as that which is proximally given, we shall completely miss the phenomenal content of Dasein. | |
| From: Martin Heidegger (Being and Time [1927], I.1.10) | |
| A reaction: Descartes had thrown doubt on the informativeness of the phenomena, so presumably your phenomenologist is not interested in whether they reveal any truth. So why are unreliable phenomena of any interest? |
| 22160 | Our relationship to a hammer strengthens when we use [Heidegger] |
| Full Idea: The less we stare at the hammer-Thing, and the more we seize hold of it and use it, the more primordial does our relationship to it become. ...The kind of Being which equipment possesses... we call 'readiness-to-hand' [Zuhandenheit]. | |
| From: Martin Heidegger (Being and Time [1927], I.3.15) | |
| A reaction: This example would be well at home in the writings of the pragmatists. It is also an important example for existentialists. In analytic philosophy we might say the experience combines perception with direct exerience of causation. |
| 15580 | There are no raw sense-data - our experiences are of the sound or colour of something [Heidegger] |
| Full Idea: We always take a noise as the sound of something; we always take a hue as the color of something. We simply do not experience raw, uninterpreted sense-data - these are the inventions of philosophers. | |
| From: Martin Heidegger (Being and Time [1927], 207/163-4), quoted by Richard Polt - Heidegger: an introduction 3.§31-3 | |
| A reaction: This is something like the modern view of sense-data as promoted by John McDowell, rather than the experiential atoms of Russell and Moore. Experience is holistic, but that doesn't mean we can't analyse it into components. |
| 20749 | Perceived objects always appear in a context [Heidegger] |
| Full Idea: The perceptual 'something' is always in the middle of something else, it always forms part of a 'field'. | |
| From: Martin Heidegger (Being and Time [1927], p.4), quoted by Kevin Aho - Existentialism: an introduction 3 'Perceptual' | |
| A reaction: Sounds like our knowledge of electrons. Nice point. Standard analytic discussions of perceiving a glass always treat it in isolation, when it is on an expensive table near a brandy bottle. Or near a hammer. |
| 22163 | The scandal of philosophy is expecting to prove reality when the prover's Being is vague [Heidegger] |
| Full Idea: The 'scandal of philosophy' is not that this proof [of external things] has yet to be given, but that such proofs are expected and attempted again and again. ...The kind of Being of the entity which does the proving has not been made definite enough. | |
| From: Martin Heidegger (Being and Time [1927], I.6.43a) | |
| A reaction: The 'scandal' was a remark of Kant's. Presumably Heidegger's exploration of Dasein aims to establish the Being of the prover sufficiently to solve this problem (via phenomenology). |
| 21949 | Having thoughts and feelings need engagement in the world [Heidegger, by Wrathall] |
| Full Idea: Heidegger argues that having thoughts and feelings is only possible for entity that is actually engaged in the world. | |
| From: report of Martin Heidegger (Being and Time [1927]) by Mark Wrathall - Heidegger: how to read 1 | |
| A reaction: This seems to be an a priori exclusion of the possibility of a brain in a vat. I guess the ancestor of this idea is Schopenhauer. |
| 22222 | Dasein finds itself already amongst others [Heidegger, by Caputo] |
| Full Idea: The world is a world shared with others, so that far from being a solipsistic ego ...Dasein finds itself already amongst others. | |
| From: report of Martin Heidegger (Being and Time [1927]) by John D. Caputo - Heidegger p.226 | |
| A reaction: Phenomenologists don't seem bothered about the problem of knowing other minds. If you take something for granted, it ceases to be a problem to be solved! |
| 8136 | If we work and play with other people, they are bound to be 'Dasein', intelligent agents [Heidegger, by Cooper,DE] |
| Full Idea: How do I know that other people have minds? The question is a bad one. Precisely because I encounter them at work, play and the like, it is guaranteed that they, too, are Dasein, intelligent agents. | |
| From: report of Martin Heidegger (Being and Time [1927], p.153-) by David E. Cooper - Heidegger Ch.3 | |
| A reaction: I've seen film of someone playing peek-a-boo with a bonobo ape, so presumably they have Dasein. It might be easier for the AI community to aim at building a robot with Dasein, than one which was simply conscious. |
| 22164 | When Dasein grasps something it exists externally alongside the thing [Heidegger] |
| Full Idea: When Dasein directs itself towards something and grasps it, it does not somehow first get out of an inner sphere in which it has been proximally encapsulated, but its primary kind of Being is such that it is always 'outside' alongside entities. | |
| From: Martin Heidegger (Being and Time [1927], I.2.13) | |
| A reaction: This is the first plausible fruit of phenomenology I have been able to discover. Analysing the passive mind is not very promising, but seeing what happens when we become more proactive is revealing. |
| 22073 | The basis of philosophy is the Self prior to experience, where it is the essence of freedom [Schelling] |
| Full Idea: The highest principle of all philosophy is the Self insofar as it is purely and simply Self, not yet conditioned by an object, but where it is formulated by freedom. The alpha and omega of all philosophy is freedom. | |
| From: Friedrich Schelling (Letters to Hegel [1795], 1795 02 04), quoted by Jean-François Courtine - Schelling p.83 | |
| A reaction: A common later response to this (e.g. in Schopenhauer) is that there is no concept of the Self prior to experience. The idealists seem to adore free will, while offering no reply to Spinoza on the matter, with whom they were very familiar. |
| 22162 | There is an everyday self, and an authentic self, when it is grasped in its own way [Heidegger] |
| Full Idea: The self of everyday Dasein is the they-self [das Man-selbst], which we distinguish from the authentic self - that is, from the Self which has been taken hold of in its own way. | |
| From: Martin Heidegger (Being and Time [1927], I.4.27) | |
| A reaction: To a novice this sounds like a requirement for increased self-consciousness during daily activity. 'Be a good animal, true to your animal self' said one of Lawrence's characters. |
| 20114 | Everyone is other, and no one is himself [Heidegger] |
| Full Idea: Everyone is other, and no one is himself. | |
| From: Martin Heidegger (Being and Time [1927], p.165), quoted by Rüdiger Safranski - Nietzsche: a philosophical biography 09 | |
| A reaction: Safranski describes this as the idea of 'structural self-evasion'. He detects the same idea in Nietzsche's 'Daybreak'. |
| 15577 | Moods are more fundamentally revealing than theories - as when fear reveals a threat [Heidegger, by Polt] |
| Full Idea: For Heidegger moods are disclosive; they show us things in a more fundamental way than theoretical propositions ever can. For example, fear reveals something as a threat. | |
| From: report of Martin Heidegger (Being and Time [1927], I.5.30) by Richard Polt - Heidegger: an introduction 3.§30 | |
| A reaction: Most modern students of emotion seem to agree. Even though they may not have specific content, it is always possible to consider the underlying cause of the mood. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 20748 | We do not add value to naked things; its involvement is disclosed in understanding it [Heidegger] |
| Full Idea: We do not throw a 'signification' over some naked thing which is present-at-hand, we do not stick a value on it; but when something is encountered as such, the thing in question has an involvement which is disclosed in our understanding of the world. | |
| From: Martin Heidegger (Being and Time [1927], p.190-1), quoted by George Dickie - The Myth of the Aesthetic Attitude 3 'Undoing' | |
| A reaction: Analytic philosophy and science have tried to dismantle experience, and Heidegger wants to put it back together. I would say there is a big difference between encountering a thing (which is a bit facty), and understanding it (which is more valuey). |
| 22166 | Dasein has the potential to be itself, but must be shown this in the midst of ordinariness [Heidegger] |
| Full Idea: Because Dasein is lost in the 'they', it must first find itself. It must be 'shown' to itself in its possible authenticity. In terms of its possibility, Dasein is already a potentiality-for-Being-its-self, but it needs to have this potentiality attested. | |
| From: Martin Heidegger (Being and Time [1927], II.2.54) | |
| A reaction: I wish there was some criterion for knowing when you are being yourself and when you are not. |
| 22165 | Anxiety reveals the possibility and individuality of Dasein [Heidegger] |
| Full Idea: Anxiety discloses Dasein as Being-possible, and indeed as the only kind of thing which it can be of its own accord as something individualised in individualisation. | |
| From: Martin Heidegger (Being and Time [1927], I.6.40) | |
| A reaction: Is sounds like insecurity, as a sort of trauma that shocks one into self-realisation. The idea means very little to me personally. |
| 21952 | Anxiety about death frees me to live my own life [Heidegger, by Wrathall] |
| Full Idea: For Heidegger, as a consequence of my anxiety in the face of death, I am set free to live my life as my own rather than doing things merely because others expect me to do them. | |
| From: report of Martin Heidegger (Being and Time [1927]) by Mark Wrathall - Heidegger: how to read 7 | |
| A reaction: Contrary to Epicurus, Heidegger thinks anxiety about death is a good thing. The point is, I suppose, that we all die alone, and people who are very socially contrained need to face up to death in order to grasp their autonomy. |
| 22224 | Anxiety is the uncanniness felt when constantly fleeing from asserting one's own freedom [Heidegger, by Caputo] |
| Full Idea: Anxiety [angst] is the disturbing sense of uncanniness by which Dasein is overtaken (thrownness) when it discovers there is nothing other than its own freedom to sustain its projects (projection), and from which Dasein constantly takes flight (falling). | |
| From: report of Martin Heidegger (Being and Time [1927]) by John D. Caputo - Heidegger p.227 | |
| A reaction: This seems to be Kierkegaard's idea, unamended. In my experience anxiety only comes when I am forced into making decisions by worldly situations. An 'existential crisis' is a sort of blankness appearing where a future life was supposed to be. |
| 15572 | Being what it is (essentia) must be conceived in terms of Being (existence) [Heidegger] |
| Full Idea: Dasein's Being-what-it-is (essentia) must….be conceived in terms of its Being (existentia). | |
| From: Martin Heidegger (Being and Time [1927], 67/42), quoted by Richard Polt - Heidegger: an introduction 3.§2 | |
| A reaction: This seems to be the origin of Sartre's famous slogan 'existence before essence'. It seems to be a rebellion against Husserl's quest for essences. |
| 20453 | Heidegger says we must either choose an inauthentic hero, or choose yourself as hero [Heidegger, by Critchley] |
| Full Idea: Heidegger says you must choose your hero; either you choose 'das Man', the inauthentic life, or you choose yourself - the point being that you have to choose yourself as your hero in order to be authentic. | |
| From: report of Martin Heidegger (Being and Time [1927]) by Simon Critchley - Impossible Objects: interviews 5 | |
| A reaction: If Nietzsche's 'Ecce Homo' is the model for choosing yourself as hero, I am not too sure about this idea. Needing a hero seems awfully German and romantic. Ein Heldenleben. Be your own anit-hero (like a standup comedian)? |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |