18 ideas
| 21793 | Genuine truth is the resolution of the highest contradiction [Hegel] |
| Full Idea: The highest truth, truth as such, is the resolution of the highest opposition and contradiction. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 99), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Art' | |
| A reaction: Uneasy about the word 'highest', and the general Hegelian dream of 'resolving' contradictions, rather than just eliminating at least one component of them. No one else uses the word 'truth' like this. I suppose this Truth has a capital 'T'. |
| 21795 | What I hold true must also be part of my feelings and character [Hegel] |
| Full Idea: Whatever I hold as true, whatever ought to be valid for me, must also be in my feeling, must belong to my being and character. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 97), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Philosophy' | |
| A reaction: I can see that truths do tend to become part of our character, but not that they ought to do so. I suppose I try to live my life enmeshed in the many truths which I have personally selected from the maelstrom of possibilities that engulf us. |
| 7630 | Ryle's dichotomy between knowing how and knowing that is too simplistic [Maund] |
| Full Idea: There is a convincing claim that we need to leave behind Ryle's dichotomy between knowing how and knowing that as being too simplistic. | |
| From: Barry Maund (Perception [2003], Ch. 2) | |
| A reaction: [John Campbell is mentioned as source of this idea] I find this proposal immediately appealing. I was taught that riding a bicycle shows the division, as hardly anyone knows the theory, but I am sure children need some propositional information. |
| 7632 | Perception is sensation-then-concept, or direct-concepts, or sensation-saturated-in-concepts [Maund] |
| Full Idea: Three forms of (cognitive) direct realism are: two stages - non-conceptual sensory experience, then a non-sensory conceptual state; directly acquiring non-sensuous conceptual states; and sensuous states saturated with concepts. | |
| From: Barry Maund (Perception [2003], Ch. 3) | |
| A reaction: [First: Reid, Dretske, Evans, Sellars. Second: Armstrong, Heil, Pitcher, Clark. Third: Kant, McDowell, Strawson, McGinn, Searle]. I find the first one plausible, because of the ambiguity in language, and because unusual experiences separate them. |
| 7635 | Sense-data have an epistemological purpose (foundations) and a metaphysical purpose (explanation) [Maund] |
| Full Idea: Sense-data have an epistemological purpose (to serve as foundations on which the edifice of knowledge is to be constructed), and a metaphysical purpose (to provide an accurate account of the phenomenology of perceptual experience). | |
| From: Barry Maund (Perception [2003], Ch. 6) | |
| A reaction: This is very important, because there is a real danger (e.g. in Russell) that the epistemological convenience of sense-data for giving reliability in knowledge means that we are too quick in making the assumption that they actually exist. |
| 7638 | One thesis says we are not aware of qualia, but only of objects and their qualities [Maund] |
| Full Idea: The representationalist/intentionalist thesis about perception is that we are not aware of the intrinsic qualities of experience in normal perception; we are instead aware of those objects and their qualities that are specified in the content. | |
| From: Barry Maund (Perception [2003], Ch. 9) | |
| A reaction: If secondary qualities are in the mind, not in objects, how come people always thought they were in objects? Answer: because this thesis is right? The primary mode of the mind is projected outwards, though we can introspect about colours. [Dretske] |
| 7642 | The Myth of the Given claims that thought is rationally supported by non-conceptual experiences [Maund] |
| Full Idea: The so-called 'myth of the given' is the view that conceptual content can be rationally supported by experiences construed as states with non-conceptual content. | |
| From: Barry Maund (Perception [2003], Ch.10) | |
| A reaction: The myth is attacked by Sellars and McDowell, the latter claiming that concepts must be embedded in the experiences. Maybe only realism is required to make the Given work. The experiences are definitely of something, and off we go... |
| 7640 | Mountains are adverbial modifications of the earth, but still have object-characteristics [Maund] |
| Full Idea: Metaphysically, mountains are only adverbial modifications of the Earth's belt. They have no existence independent of being part of the earth. Yet for all that, they have some rather strong 'object'-characteristics. | |
| From: Barry Maund (Perception [2003], Ch.10) | |
| A reaction: The point being that you don't give up all the advantages of a sense-data view if you switch to adverbialism. I'm not convinced by the analogy, but we can only be aware of adverbial qualities if they have causal powers. |
| 7641 | Adverbialism tries to avoid sense-data and preserve direct realism [Maund] |
| Full Idea: The two primary motivations of the adverbialist analysis are thought to be to avoid commitment to sensory particulars such as sense-data, and to allow us to hold on to a version of direct realism. | |
| From: Barry Maund (Perception [2003], Ch.10) | |
| A reaction: Maund says that the adverbialist's fears about indirect/representative theories are unfounded. My feeling is that neither account will do the job properly once we get a better account of consciousness. Maybe adverbialism is only for secondary qualities. |
| 7637 | Thought content is either satisfaction conditions, or exercise of concepts [Maund, by PG] |
| Full Idea: The content of thought can either be expressed as satisfaction conditions (e.g. truth-conditions for beliefs), or as the exercise of at least two concepts. | |
| From: report of Barry Maund (Perception [2003], Ch. 8) by PG - Db (ideas) | |
| A reaction: I think I favour the first view, because not all conjunctions of concepts would count as thoughts (e.g. rhubarb-plus-contradiction). A bunch of concepts becomes a thought when it connects in some way to reality? |
| 18549 | Nineteenth century aesthetics focused on art rather than nature (thanks to Hegel) [Hegel, by Scruton] |
| Full Idea: Only In the course of the nineteenth century, and in the wake of Hegel's posthumously published lectures on aesthetics, did the topic of art come to replace that of natural beauty as the core subject-matter of aesthetics. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826], 5) by Roger Scruton - Beauty: a very short introduction |
| 22043 | Hegel largely ignores aesthetic pleasure, taste and beauty, and focuses on the meaning of artworks [Hegel, by Pinkard] |
| Full Idea: Unlike his predecessors (including Kant), Hegel does not focus on aesthetic pleasure, nor on good taste, nor even on the nature and criteria for beauty. Instead he focuses on the meaning of artworks and their role in forming mankind's self-consciousness. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Personally I dislike over-intellectualising art. The aim of a work of art is to give a certain experience, not to generate an ensuing sequence of theorising. I doubt whether Vermeer had any 'meaning' in mind in his obsessive work. |
| 22042 | Natural beauty is unimportant, because it doesn't show human freedom [Hegel, by Pinkard] |
| Full Idea: Hegel thinks that natural beauty is of no real significance since it cannot display our freedom to us; nature per se is meaningless. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Presumably freedom is in the creation, and so creativity is what matters in aesthetics. But what are the criteria of good creativity? |
| 20413 | For Hegel the importance of art concerns the culture, not the individual [Hegel, by Eldridge] |
| Full Idea: Hegel locates the significance of art in its role in cultural life in general, not in relation to the psychological needs of individuals. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Richard Eldridge - G.W.F. Hegel (aesthetics) 1 | |
| A reaction: I'm beginning to see that art is a wonderful focus and test case for political attitudes. Roughly, liberalism focuses on individual responses, but more societal views (from right and left) see it in terms of role in the community. Which are you? |
| 20394 | The purpose of art is to reveal to Spirit its own nature [Hegel, by Davies,S] |
| Full Idea: According to Hegel, the goal of art was to serve as a phase in a process by which Spirit would come to understand its own nature. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Stephen Davies - The Philosophy of Art (2nd ed) 2.7 | |
| A reaction: I try very hard to understand ideas like this. Really really hard. However, since I see little sign of 'Spirit' really understanding its own nature, I'm guessing that the project is not going well. |
| 21794 | The main purpose of art is to express the unity of human life [Hegel] |
| Full Idea: Art's primary function, for Hegel, is to give expression to the unity and wholeness of life - especially human life - that the contingencies of everyday existence frequently conceal. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826]), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Beauty' | |
| A reaction: I don't find the view that human life is 'unified' and 'whole' vary illuminating, and I have no objection to art which reflects the fragmentary and unstable aspects of life. I suspect Hegel would just prefer it if life were a unity. |
| 20415 | Art forms a bridge between the sensuous world and the world of pure thought [Hegel] |
| Full Idea: Spirit generates out of itself works of fine art as the first reconciling middle term between pure thought and what is merely external, sensuous and transient - between finite natural reality and the infinite freedom of conceptual thinking. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], p.8), quoted by Richard Eldridge - G.W.F. Hegel (aesthetics) | |
| A reaction: This apparently says that there is necessarily an intellectual and conceptual component in art. This means little to me. Does he include portraits? Dutch domestic scenes? Would photography qualify? |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |