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. |
| 18076 | Most theories are continually falsified [Kuhn, by Kitcher] |
| Full Idea: Kuhn contends that almost all theories are falsified at almost all times. | |
| From: report of Thomas S. Kuhn (Structure of Scientific Revolutions (2nd ed) [1962]) by Philip Kitcher - The Nature of Mathematical Knowledge 07.1 | |
| A reaction: This is obviously meant to demolish Karl Popper. |
| 22191 | Kuhn's scientists don't aim to falsifying their paradigm, because that is what they rely on [Kuhn, by Gorham] |
| Full Idea: In Kuhn's view scientists are decidedly not interested in falsifying their paradigm, because without a paradigm there is no systematic inquiry at all. | |
| From: report of Thomas S. Kuhn (Structure of Scientific Revolutions (2nd ed) [1962]) by Geoffrey Gorham - Philosophy of Science 3 | |
| A reaction: This seems to be one of the stronger aspects of Kuhn's account. You'd be leaving the big house, to go out on the road with a tent. |
| 22183 | Switching scientific paradigms is a conversion experience [Kuhn] |
| Full Idea: The transfer of allegiance from paradigm to paradigm is a conversion experience which cannot be forced. | |
| From: Thomas S. Kuhn (Structure of Scientific Revolutions (2nd ed) [1962]), quoted by Samir Okasha - Philosophy of Science: Very Short Intro (2nd ed) 5 | |
| A reaction: This is the controversial part of Kuhn, which says that the most important decisions are not really rational. Anyone who thought the interpretation of a bunch of evidence is logical needed their head examined. But it IS rational. |
| 6162 | Kuhn has a description theory of reference, so the reference of 'electron' changes with the descriptions [Rowlands on Kuhn] |
| Full Idea: Kuhn and Feyerabend adopt a description theory of reference; the term 'electron' refers to whatever satisfies the descriptions associated with electrons, and since these descriptions vary between theories, so too must the reference. | |
| From: comment on Thomas S. Kuhn (Structure of Scientific Revolutions (2nd ed) [1962]) by Mark Rowlands - Externalism Ch.3 | |
| A reaction: This is a key idea in modern philosophy, showing why all of reality and science were at stake when Kripke and others introduced a causal theory of reference. All the current debates about externalism and essentialism grow from this problem. |
| 22184 | Incommensurability assumes concepts get their meaning from within the theory [Kuhn, by Okasha] |
| Full Idea: The doctrine of incommensurability stems from Kuhn's belief that scientific concepts derive their meaning from the theory in which they play a role. | |
| From: report of Thomas S. Kuhn (Structure of Scientific Revolutions (2nd ed) [1962]) by Samir Okasha - Philosophy of Science: Very Short Intro (2nd ed) 5 | |
| A reaction: Quine was the source of this. Kripke's direct reference theory was meant to be the answer. |
| 7619 | Galileo's notions can't be 'incommensurable' if we can fully describe them [Putnam on Kuhn] |
| Full Idea: To tell us that Galileo had 'incommensurable' notions and then go on to describe them at length is totally incoherent. | |
| From: comment on Thomas S. Kuhn (Structure of Scientific Revolutions (2nd ed) [1962]) by Hilary Putnam - Reason, Truth and History Ch.5 | |
| A reaction: How refreshingly sensible. Incommensurability is the sort of nonsense you slide into if you take an instrumental view of science. But scientists are continually aim to pin down what is actually there. Translation between theories is very difficult! |
| 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'). |