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. |
| 8983 | If 'red' is vague, then membership of the set of red things is vague, so there is no set of red things [Sainsbury] |
| Full Idea: Sets have sharp boundaries, or are sharp objects; an object either definitely belongs to a set, or it does not. But 'red' is vague; there objects which are neither definitely red nor definitely not red. Hence there is no set of red things. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §2) | |
| A reaction: Presumably that will entail that there IS a set of things which can be described as 'definitely red'. If we describe something as 'definitely having a hint of red about it', will that put it in a set? In fact will the applicability of 'definitely' do? |
| 8986 | We should abandon classifying by pigeon-holes, and classify around paradigms [Sainsbury] |
| Full Idea: We must reject the classical picture of classification by pigeon-holes, and think in other terms: classifying can be, and often is, clustering round paradigms. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §8) | |
| A reaction: His conclusion to a discussion of the problem of vagueness, where it is identified with concepts which have no boundaries. Pigeon-holes are a nice exemplar of the Enlightenment desire to get everything right. I prefer Aristotle's categories, Idea 3311. |
| 8982 | Vague concepts are concepts without boundaries [Sainsbury] |
| Full Idea: If a word is vague, there are or could be borderline cases, but non-vague expressions can also have borderline cases. The essence of vagueness is to be found in the idea vague concepts are concepts without boundaries. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], Intro) | |
| A reaction: He goes on to say that vague concepts are not embodied in clear cut sets, which is what gives us our notion of a boundary. So what is vague is 'membership'. You are either a member of a club or not, but when do you join the 'middle-aged'? |
| 8984 | If concepts are vague, people avoid boundaries, can't spot them, and don't want them [Sainsbury] |
| Full Idea: Vague concepts are boundaryless, ...and the manifestations are an unwillingness to draw any such boundaries, the impossibility of identifying such boundaries, and needlessness and even disutility of such boundaries. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §5) | |
| A reaction: People have a very fine-tuned notion of whether the sharp boundary of a concept is worth discussing. The interesting exception are legal people, who are often forced to find precision where everyone else hates it. Who deserves to inherit the big house? |
| 8985 | Boundaryless concepts tend to come in pairs, such as child/adult, hot/cold [Sainsbury] |
| Full Idea: Boundaryless concepts tend to come in systems of contraries: opposed pairs like child/adult, hot/cold, weak/strong, true/false, and complex systems of colour terms. ..Only a contrast with 'adult' will show what 'child' excludes. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §5) | |
| A reaction: This might be expected. It all comes down to the sorites problem, of when one thing turns into something else. If it won't merge into another category, then presumably the isolated concept stays applicable (until reality terminates it? End of sheep..). |
| 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'). |