19 ideas
| 9208 | Philosophers with a new concept are like children with a new toy [Fine,K] |
| Full Idea: Philosophers with a new concept are like children with a new toy; their world shrinks to one in which it takes centre stage. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p.10) | |
| A reaction: A wonderfully accurate observation, I'm afraid. You can trace the entire history of the subject as a wave of obsessions with exciting new ideas. Fine is referring to a posteriori necessities and possible worlds. |
| 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. |
| 9210 | Possible objects are abstract; actual concrete objects are possible; so abstract/concrete are compatible [Fine,K] |
| Full Idea: If it is in the nature of a possible object to be abstract, this is presumably a property it has in any possible circumstance in which it is actual. If it is actual it is also concrete. So the property of being abstract and concrete are not incompatible. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p.14) | |
| A reaction: A rather startling and powerful idea. What of the definition of an abstract object as one which is not in space-time, and lacks causal powers? Could it be that abstraction is a projection of our minds, onto concepts or objects? |
| 9211 | A non-standard realism, with no privileged standpoint, might challenge its absoluteness or coherence [Fine,K] |
| Full Idea: By challenging the assumption that reality is 'absolute' (not relative to a standpoint), or that reality is 'coherent' (it is of a piece, from one standpoint), one accepts worldly facts without a privilege standpoint. I call this 'non-standard' realism. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p.15) | |
| A reaction: Fine's essay 'Tense and Reality' explores his proposal. I'm not drawn to either of his challenges. I have always taken as articles of faith that there could be a God's Eye view of all of reality, and that everything coheres, independent of our view. |
| 9202 | Objects, as well as sentences, can have logical form [Fine,K] |
| Full Idea: We normally think of logical form as exclusively an attribute of sentences; however, the notion may also be taken to have application to objects. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p. 3) | |
| A reaction: A striking proposal which seems intuitively right. If one said that objects have 'powers', one might subsume abstract and physical objects under a single account. |
| 9206 | We must distinguish between the identity or essence of an object, and its necessary features [Fine,K] |
| Full Idea: The failure to distinguish between the identity or essence of an object and its necessary features is an instance of what we may call 'modal mania'. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p. 9) | |
| A reaction: He blames Kripke's work for modal mania, a reaction to Quine's 'contempt' for modal notions. I don't actually understand Fine's remark (yet), but it strikes me as incredibly important! Explanations by email, please. |
| 9205 | The three basic types of necessity are metaphysical, natural and normative [Fine,K] |
| Full Idea: There are three basic forms of necessity - the metaphysical (sourced in the identity of objects); natural necessity (in the 'fabric' of the universe); and normative necessity (in the realm of norms and values). | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p. 7) | |
| A reaction: Earlier he has allowed, as less 'basic', logical necessity (in logical forms), and analytic necessity (in meaning). Fine insists that the three kinds should be kept separate (so no metaphysical necessities about nature). I resent this. |
| 9209 | Metaphysical necessity may be 'whatever the circumstance', or 'regardless of circumstances' [Fine,K] |
| Full Idea: There are two fundamental ways in which a property may be metaphysically necessary: it may be a worldly necessity, true whatever the circumstances; or it may be a transcendent necessity, true regardless of the circumstances. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p.10) | |
| A reaction: [See Fine's 'Necessity and Non-Existence' for further details] The distinction seems to be that the first sort needs some circumstances (e.g. a physical world?), whereas the second sort doesn't (logical relations?). He also applies it to existence. |
| 9200 | Empiricists suspect modal notions: either it happens or it doesn't; it is just regularities. [Fine,K] |
| Full Idea: Empiricists have always been suspicious of modal notions: the world is an on-or-off matter - either something happens or it does not. ..Empiricists, in so far as they have been able to make sense of modality, have tended to see it as a form of regularity. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p. 1) | |
| A reaction: Fine is discussing the two extreme views of Quine and Lewis. It is one thing to have views about what is possible, and another to include possibilities 'in your ontology'. Our imagination competes with our extrapolations from actuality. |
| 9207 | If sentence content is all worlds where it is true, all necessary truths have the same content! [Fine,K] |
| Full Idea: The content of a sentence is often identified with the set of possible worlds in which it is true, where the worlds are metaphysically possible. But this has the awkward consequence that all metaphysically necessary truths will have the same content. | |
| From: Kit Fine (Intro to 'Modality and Tense' [2005], p.10) | |
| A reaction: I've never understood how the content of a sentence could be a vast set of worlds, so I am delighted to see this proposal be torpedoed. That doesn't mean that truth conditions across possible worlds is not a promising notion. |
| 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'). |