Combining Texts

All the ideas for 'The Origin of the Work of Art', 'fragments/reports' and 'Introductions to 'Aesthetics and the Phil of Art''

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6 ideas

1. Philosophy / D. Nature of Philosophy / 5. Aims of Philosophy / b. Philosophy as transcendent

15585	Later Heidegger sees philosophy as more like poetry than like science [Heidegger, by Polt]
	Full Idea: In his later work Heidegger came to view philosophy as closer to poetry than to science.
	From: report of Martin Heidegger (The Origin of the Work of Art [1935], p.178) by Richard Polt - Heidegger: an introduction 5 'Signs'

19. Language / B. Reference / 1. Reference theories

1757	The Electra: she knows this man, but not that he is her brother [Eucleides, by Diog. Laertius]
	Full Idea: The 'Electra': Electra knows that Orestes is her brother, but not that this man is Orestes, so she knows and does not know her brother simultaneously.
	From: report of Eucleides (fragments/reports [c.410 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.Eu.4
	A reaction: Hence we distinguish 'know of', 'know that' and 'know how'. Hence Russell makes 'knowledge by acquaintance' fundamental, and descriptions come later.

21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics

20327	Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson]
	Full Idea: In modern discussions, rather than look for intrinsic properties of objects, including aesthetic or formal properties, attention has turned to extrinsic or relational properties, notably of a social, historical, or 'institutional' nature.
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
	A reaction: Lots of modern branches of philosophy have made this move, which seems to me like a defeat. We want to know why things have the relations they do. Just mapping the relations is superficial Humeanism.

21. Aesthetics / B. Nature of Art / 1. Defining Art

20326	Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson]
	Full Idea: In the early twentieth century there were numerous attempts at defining the essence art. Significant form, intuition, the expression of emotion, organic unity, and other notions, were offered to this end.
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
	A reaction: As far as I can see the whole of aesthetics was demolished in one blow by Marcel Duchamp's urinal. Artists announce: we will tell you what art is; you should just sit and listen. Compare the invention of an anarchic sport.

21. Aesthetics / B. Nature of Art / 7. Ontology of Art

20330	The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson]
	Full Idea: The dualistic view of the arts holds that works of art come in two fundamentally different kinds: those that are abstract entities, i.e. types, and those that are physical objects (tokens).
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 2)
	A reaction: Paintings are the main reason for retaining physical objects. Strawson 1974 argues that paintings are only physical because we cannot yet perfectly reproduce them. I agree. Works of art are types, not tokens.

22. Metaethics / C. The Good / 1. Goodness / b. Types of good

3028	The chief good is unity, sometimes seen as prudence, or God, or intellect [Eucleides]
	Full Idea: The chief good is unity, which is known by several names, for at one time people call it prudence, at another time God, at another intellect, and so on.
	From: Eucleides (fragments/reports [c.410 BCE]), quoted by Diogenes Laertius - Lives of Eminent Philosophers 02.9.2
	A reaction: So the chief good is what unites and focuses our moral actions. Kant calls that 'the will'.