15 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. |
| 5062 | First: there must be reasons; Second: why anything at all?; Third: why this? [Leibniz] |
| Full Idea: We rise to metaphysics by saying 'nothing takes place without a reason', then asking 'why is there something rather than nothing?, and then 'why do things exist as they do?' | |
| From: Gottfried Leibniz (Principles of Nature and Grace based on Reason [1714], §7) | |
| A reaction: Wonderful. This is what we pay philosophers for - to attempt to go to the heart of the mystery, and then start formulating the appropriate questions. The question of 'why this?' is the sweetest question. The first one seems a little intractable. |
| 19377 | A monad and its body are living, so life is everywhere, and comes in infinite degrees [Leibniz] |
| Full Idea: Each monad, together with a particular body, makes up a living substance. Thus, there is not only life everywhere, joined to limbs or organs, but there are also infinite degrees of life in the monads, some dominating more or less over others. | |
| From: Gottfried Leibniz (Principles of Nature and Grace based on Reason [1714], 4) | |
| A reaction: Two key ideas: that each monad is linked to a body (which is presumably passive), and the infinite degrees of life in monads. Thus rocks consist of monads, but at an exceedingly low degree of life. They are stubborn and responsive. |
| 19353 | 'Perception' is basic internal representation, and 'apperception' is reflective knowledge of perception [Leibniz] |
| Full Idea: We distinguish between 'perception', the internal state of the monad representing external things, and 'apperception', which is consciousness, or the reflective knowledge of this internal state, not given to all souls, nor at all times to a given soul. | |
| From: Gottfried Leibniz (Principles of Nature and Grace based on Reason [1714], §4) | |
| A reaction: The word 'apperception' is standard in Kant. I find it surprising that modern analytic philosophers don't seem to use it when they write about perception. It strikes me as useful, but maybe specialists have a reason for avoiding it. |
| 5061 | Animals are semi-rational because they connect facts, but they don't see causes [Leibniz] |
| Full Idea: There is a connexion between the perceptions of animals, which bears some resemblance to reason: but it is based only on the memory of facts or effects, and not at all on the knowledge of causes. | |
| From: Gottfried Leibniz (Principles of Nature and Grace based on Reason [1714], §5) | |
| A reaction: This amounts to the view that animals can do Humean induction (where you see regularities), but not Leibnizian induction (where you see necessities). I say all minds perceive patterns, but only humans can think about the patterns they have perceived. |
| 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? |
| 5063 | Music charms, although its beauty is the harmony of numbers [Leibniz] |
| Full Idea: Music charms us although its beauty only consists in the harmony of numbers. | |
| From: Gottfried Leibniz (Principles of Nature and Grace based on Reason [1714], §17) | |
| A reaction: 'Only'! This is a super-pythagorean view of music, as you might expect from a great mathematician. Did he understand the horrible compromises that had just been made to achieve even-tempered tuning? Patterns are the key, as always. |
| 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'). |