16 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. |
| 6417 | In 1921 Russell abandoned sense-data, and the gap between sensation and object [Russell, by Grayling] |
| Full Idea: In 'The Analysis of Mind' Russell gave up talk of 'sense-data', and ceased to distinguish between the act of sensing and what is sensed. | |
| From: report of Bertrand Russell (The Analysis of Mind [1921]) by A.C. Grayling - Russell Ch.2 | |
| A reaction: This seems to lead towards the modern 'adverbial' account of sensing, where I don't sense 'data', but where qualia (such as redness) are our particular mode of directly perceiving objects, where insects might directly perceive them in a different mode. |
| 6474 | Seeing is not in itself knowledge, but is separate from what is seen, such as a patch of colour [Russell] |
| Full Idea: Undeniably, knowledge comes through seeing, but it is a mistake to regard the mere seeing itself as knowledge; if we are so to regard it, we must distinguish the seeing from what is seen; a patch of colour is one thing, and our seeing it is another. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: This is Russell's 1921 explanation of why he adopted sense-data (but he rejects them later in this paragraph). This gives a simplistic impression of what he intended, which has three components: the object, the 'sensibile', and the sense-datum. |
| 6476 | We cannot assume that the subject actually exists, so we cannot distinguish sensations from sense-data [Russell] |
| Full Idea: If we are to avoid a perfectly gratuitous assumption, we must dispense with the subject as one of the actual ingredients of the world; but when we do this, the possibility of distinguishing the sensation from the sense-datum vanishes. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: This is the reason why Russell himself rejected sense-data. It is more normal, I think, to reject them simply as being superfluous. If the subject can simply perceive the sense-data, why can't they just perceive the object more directly? |
| 2792 | It is possible the world came into existence five minutes ago, complete with false memories [Russell] |
| Full Idea: There is no logical impossibility in the hypothesis that the world sprang into being five minutes ago, exactly as it then was, with a population that "remembered" a wholly unreal past. | |
| From: Bertrand Russell (The Analysis of Mind [1921], p.159) | |
| A reaction: One of the great sceptical arguments! At a stroke it undermines forever any dreams that memories are totally certain. This is an extra scepticism, which arises if you decide that current experience IS totally certain. |
| 22326 | Knowledge needs more than a sensitive response; the response must also be appropriate [Russell] |
| Full Idea: Accuracy of response to stimulus does not alone show knowledge, but must be reinforced by appropriateness, i.e. suitability of realising one's purpose. | |
| From: Bertrand Russell (The Analysis of Mind [1921], p.261), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 66 'Rel' | |
| A reaction: The aim of 'realising one's purpose' puts a very pragmatist spin on this. The point is a good one, and seems to apply particularly to Nozick's accurate 'tracking' account of knowledge. |
| 6475 | In perception, the self is just a logical fiction demanded by grammar [Russell] |
| Full Idea: In perception, the idea of the subject appears to be a logical fiction, like mathematical points and instants; it is introduced, not because observation reveals it, but because it is linguistically convenient and apparently demanded by grammar. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: In 1912, Russell had felt that both the Cogito, and the experience of meta-thought, had confirmed the existence of a non-permanent ego, but here he offers a Humean rejection. His notion of a 'logical fiction' is behaviouristic. I believe in the Self. |
| 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'). |