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. |
| 8915 | How we refer to abstractions is much less clear than how we refer to other things [Rosen] |
| Full Idea: It is unclear how we manage to refer determinately to abstract entities in a sense in which it is not unclear how we manage to refer determinately to other things. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Ex') | |
| A reaction: This is where problems of abstraction overlap with problems about reference in language. Can we have a 'baptism' account of each abstraction (even very large numbers)? Will descriptions do it? Do abstractions collapse into particulars when we refer? |
| 8917 | The Way of Abstraction used to say an abstraction is an idea that was formed by abstracting [Rosen] |
| Full Idea: The simplest version of the Way of Abstraction would be to say that an object is abstract if it is a referent of an idea that was formed by abstraction, but this is wedded to an outmoded philosophy of mind. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Abs') | |
| A reaction: This presumably refers to Locke, who wields the highly ambiguous term 'idea'. But if we sort out that ambiguity (by using modern talk of mental events, concepts and content?) we might reclaim the view. But do we have a 'genetic fallacy' here? |
| 8912 | Nowadays abstractions are defined as non-spatial, causally inert things [Rosen] |
| Full Idea: If any characterization of the abstract deserves to be regarded as the modern standard one, it is this: an abstract entity is a non-spatial (or non-spatiotemporal) causally inert thing. This view presents a number of perplexities... | |
| From: Gideon Rosen (Abstract Objects [2001], 'Non-spat') | |
| A reaction: As indicated in other ideas, the problem is that some abstractions do seem to be located somewhere in space-time, and to have come into existence, and to pass away. I like 'to exist is to have causal powers'. See Ideas 5992 and 8300. |
| 8913 | Chess may be abstract, but it has existed in specific space and time [Rosen] |
| Full Idea: The natural view of chess is not that it is a non-spatiotemporal mathematical object, but that it was invented at a certain time and place, that it has changed over the years, and so on. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Non-spat') | |
| A reaction: This strikes me as being undeniable, and being an incredibly important point. Logicians seem to want to subsume things like games into the highly abstract world of logic and numbers. In fact the direction of explanation should be reversed. |
| 8914 | Sets are said to be abstract and non-spatial, but a set of books can be on a shelf [Rosen] |
| Full Idea: It is thought that sets are abstract, abstract objects do not exist in space, so sets must not exist in space. But it is not unnatural to say that a set of books is located on a certain shelf in the library. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Non-spat') | |
| A reaction: The arguments against non-spatiality of abstractions seem to me to be conclusive. Not being able to assign a location to the cosine function is on a par with not knowing where my thoughts are located in my brain. |
| 8916 | Conflating abstractions with either sets or universals is a big claim, needing a big defence [Rosen] |
| Full Idea: The Way of Conflation account of abstractions (identifying them sets or with universals) is now relatively rare. The claim sets or universals are the only abstract objects would amount to a substantive metaphysical thesis, in need of defence. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Con') | |
| A reaction: If you produce a concept like 'mammal' by psychological abstraction, you do seem to end up with a set of things with shared properties, so this approach is not silly. I can't think of any examples of abstractions which are not sets or universals. |
| 8918 | Functional terms can pick out abstractions by asserting an equivalence relation [Rosen] |
| Full Idea: On Frege's suggestion, functional terms that pick out abstract expressions (such as 'direction' or 'equinumeral') have a typical form of f(a) = f(b) iff aRb, where R is an equivalence relation, a relation which is reflexive, symmetric and transitive. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Abs') | |
| A reaction: [Wright and Hale are credited with the details] This has become the modern orthodoxy among the logically-minded. Examples of R are 'parallel' or 'just as many as'. It picks out an 'aspect', which isn't far from the old view. |
| 8919 | Abstraction by equivalence relationships might prove that a train is an abstract entity [Rosen] |
| Full Idea: It seems possible to define a train in terms of its carriages and the connection relationship, which would meet the equivalence account of abstraction, but demonstrate that trains are actually abstract. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Abs') | |
| A reaction: [Compressed. See article for more detail] A tricky example, but a suggestive line of criticism. If you find two physical objects which relate to one another reflexively, symmetrically and transitively, they may turn out to be abstract. |
| 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'). |