63 ideas
| 23183 | Different abilities are needed for living in an incomplete and undogmatic system [Nietzsche] |
| Full Idea: There is an entirely different strength and mobility to maintaining oneself in an incomplete system, with free, open vistas, than in a dogmatic world. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[025]) | |
| A reaction: This is like Keats's 'negative capability' - the ability to live in a state of uncertainty. I'm a fan of attempts to create a philosophical system, but dogmatism would seem to be the death of such a project. How would you live with your system? Nice. |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 23188 | Bad writers use shapeless floating splotches of concepts [Nietzsche] |
| Full Idea: Bad writers have only shapeless floating splotches of concepts in their heads. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[083]) | |
| A reaction: Under 'conceptual analyis' not because he analyses concepts, but because he recognises their foundation importance in philosophy. I get more irritated by unchallenged concepts than by drifting concepts. Writer must know and challenge their key concepts. |
| 23212 | A text has many interpretations, but no 'correct' one [Nietzsche] |
| Full Idea: The same text allows innumerable interpretations: there is no 'correct' interpretation. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 1[120]) | |
| A reaction: It is hard to defend a 'correct' interpretation, but I think it is obvious to students of literature that some interpretations are very silly, such as reading things allegorically when there was no such intention. |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 9331 | How do we determine which of the sentences containing a term comprise its definition? [Horwich] |
| Full Idea: How are we to determine which of the sentences containing a term comprise its definition? | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §2) | |
| A reaction: Nice question. If I say 'philosophy is the love of wisdom' and 'philosophy bores me', why should one be part of its definition and the other not? What if I stipulated that the second one is part of my definition, and the first one isn't? |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 23199 | What is the search for truth if it isn't moral? [Nietzsche] |
| Full Idea: What is searching for truth, truthfulness, honesty if not something moral? | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 35[05]) | |
| A reaction: Feels right to me. It might be an effect of the virtue of respect. If you respect a person you tell them the truth (assuming they want the truth). Lying to someone is a sort of contempt. |
| 23202 | Like all philosophers, I love truth [Nietzsche] |
| Full Idea: I, too, love truth, like all philosophers. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 37[02]) | |
| A reaction: Please pay attention to this remark! His perspectivalism is not a denial of truth. It is an epistemological phenomenon, not a metaphysical one. The perspectives are the nearest we can get to truth. Humanity therefore needs teamwork. |
| 23196 | Logic is a fiction, which invents the view that one thought causes another [Nietzsche] |
| Full Idea: The model of a complete fiction is logic. Here a thinking is made up where a thought is posited as the cause of another thought. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[249]) | |
| A reaction: He could almost be referring to Frege's Third Realm. Most hard core analytic philosophers seem to think that propositions have tight logical relationships which are nothing to do with the people who think them. |
| 23186 | Numbers enable us to manage the world - to the limits of counting [Nietzsche] |
| Full Idea: Numbers are our major means of making the world manageable. We comprehend as far as we can count, i.e. as far as a constancy can be perceived. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[058]) | |
| A reaction: I don't agree with 'major', but it is a nice thought. The intermediate concept is a 'unit', which means identifying something as a 'thing', which is how we seem to grasp the world. So to what extent do we comprehend the infinite. Enter Cantor… |
| 23211 | Events are just interpretations of groups of appearances [Nietzsche] |
| Full Idea: There is no event in itself. What happens is a group of appearances selected and summarised by an interpreting being. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 1[115]) | |
| A reaction: Since innumerable events are nested within one another, such as the events at a carnival, this is obviously true. A primitive 'Kim event' (an object changes a property) might have objective existence. Carnivals happen, though. |
| 23201 | The 'I' does not think; it is a construction of thinking, like other useful abstractions [Nietzsche] |
| Full Idea: I do not grant to the metaphysicians that the 'I' is what thinks: on the contrary I take the I itself as a construction thinking, of the same rank as 'material',' thing', 'substance', 'purpose', 'number': therefore only as a regulative fiction. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 35[35]) | |
| A reaction: Ah. I have always defended the Self, the thing that is in charge when the mind is directed to something. I suddenly see that this is compatible with the Self not being the thinker! It is just the willer, and the controller of the searchlight. Self = will? |
| 23207 | Appearance is the sole reality of things, to which all predicates refer [Nietzsche] |
| Full Idea: Appearance as I understand it is the actual and single reality of things - that which first merits all existing predicates. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 40[53]) | |
| A reaction: This is the view espoused by John Stuart Mill (a fact which would shock Nietzsche!). Elsewhere he laughs at the concept of the thing-in-itself as a fiction. |
| 9333 | A priori belief is not necessarily a priori justification, or a priori knowledge [Horwich] |
| Full Idea: It is one thing to believe something a priori and another for this belief to be epistemically justified. The latter is required for a priori knowledge. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: Personally I would agree with this, because I don't think anything should count as knowledge if it doesn't have supporting reasons, but fans of a priori knowledge presumably think that certain basic facts are just known. They are a priori justified. |
| 9342 | Understanding needs a priori commitment [Horwich] |
| Full Idea: Understanding is itself based on a priori commitment. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: This sounds plausible, but needs more justification than Horwich offers. This is the sort of New Rationalist idea I associate with Bonjour. The crucial feature of the New lot is, I take it, their fallibilism. All understanding is provisional. |
| 9332 | Meaning is generated by a priori commitment to truth, not the other way around [Horwich] |
| Full Idea: Our a priori commitment to certain sentences is not really explained by our knowledge of a word's meaning. It is the other way around. We accept a priori that the sentences are true, and thereby provide it with meaning. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: This sounds like a lovely trump card, but how on earth do you decide that a sentence is true if you don't know what it means? Personally I would take it that we are committed to the truth of a proposition, before we have a sentence for it. |
| 9341 | Meanings and concepts cannot give a priori knowledge, because they may be unacceptable [Horwich] |
| Full Idea: A priori knowledge of logic and mathematics cannot derive from meanings or concepts, because someone may possess such concepts, and yet disagree with us about them. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: A good argument. The thing to focus on is not whether such ideas are a priori, but whether they are knowledge. I think we should employ the word 'intuition' for a priori candidates for knowledge, and demand further justification for actual knowledge. |
| 9334 | If we stipulate the meaning of 'number' to make Hume's Principle true, we first need Hume's Principle [Horwich] |
| Full Idea: If we stipulate the meaning of 'the number of x's' so that it makes Hume's Principle true, we must accept Hume's Principle. But a precondition for this stipulation is that Hume's Principle be accepted a priori. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §9) | |
| A reaction: Yet another modern Quinean argument that all attempts at defining things are circular. I am beginning to think that the only a priori knowledge we have is of when a group of ideas is coherent. Calling it 'intuition' might be more accurate. |
| 9339 | A priori knowledge (e.g. classical logic) may derive from the innate structure of our minds [Horwich] |
| Full Idea: One potential source of a priori knowledge is the innate structure of our minds. We might, for example, have an a priori commitment to classical logic. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §11) | |
| A reaction: Horwich points out that to be knowledge it must also say that we ought to believe it. I'm wondering whether if we divided the whole territory of the a priori up into intuitions and then coherent justifications, the whole problem would go away. |
| 23197 | Memory is essential, and is only possible by means of abbreviation signs [Nietzsche] |
| Full Idea: Experience is only possible with the help of memory; memory is only possible by virtue of an abbreviation of an intellectual event as a sign. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[249]) | |
| A reaction: My memory of a town is not formed as a sign, but as a bunch of miscellaneous fragments about it. I think mental files gives a better account of this than do 'signs'. |
| 23206 | Schematic minds think thoughts are truer if they slot into a scheme [Nietzsche] |
| Full Idea: There are schematic minds, those who hold a thought-complex to be truer if it can be sketched into previously drafted schemata or categorical tables. There are countless self-deceptions in this area: nearly all the great 'systems' belong here. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 40[09]) | |
| A reaction: Why 'nearly all'? Aristotle might be a candidate for such a person. Leibniz, perhaps. Nietzsche identified with Becoming and Heraclitus, as opposed to Being and Parmenides. |
| 23209 | Each of our personal drives has its own perspective [Nietzsche] |
| Full Idea: From the standpoint of each of our fundamental drives there is a different perspectival assessment of all events and experiences. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 1[058]) | |
| A reaction: Revealing. Perspectives are not just each individual person's viewpoint, but something more fine-grained than that. Our understanding and response are ambiguous, because we ourselves are intrinsically ambiguous. Super-relativism! |
| 23184 | The mind is a simplifying apparatus [Nietzsche] |
| Full Idea: The intellect and the senses are above all a simplifying apparatus. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[046]) | |
| A reaction: Very plausible, and not an idea I have met elsewhere. There's a PhD here for someone. It fits with my view as universals in language (which is most of language), which capture diverse things by ironing out their differences. |
| 23190 | Consciousness is our awareness of our own mental life [Nietzsche] |
| Full Idea: We have a double brain: our capacity to will, to feel and to think of our willing, feeling, thinking ourselves is what we summarise with the word 'consciousness'. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[087]) | |
| A reaction: Pretty much the modern HOT (higher order thought) theory of consciousness. Higher order thought distinguishes us from the other animals, but I think they too are probably conscious, so I don't agree. Why is level 2 conscious of level 1? |
| 23191 | Minds have an excluding drive to scare things off, and a selecting one to filter facts [Nietzsche] |
| Full Idea: In our conscious intellect there must be an excluding drive that scares things away, a selecting one, which only permits certain facts to present themselves. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[131]) | |
| A reaction: I like this because he is endorsing the idea that philosophy needs faculties, which may not match the views of psychologists and neuroscientists. Quite nice to think of faculties as drives. |
| 23213 | The greatest drive of life is to discharge strength, rather than preservation [Nietzsche] |
| Full Idea: Something that lives wants above all to discharge its strength: 'preservation' is only one of the consequences of this. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 2[063]) | |
| A reaction: This seems to fit a dynamic man like Nietzsche, rather than someone who opts for a quiet and comfortable life. |
| 23210 | That all events are necessary does not mean they are compelled [Nietzsche] |
| Full Idea: The absolute necessity of all events contains nothing of a compulsion. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 1[114]) | |
| A reaction: I like to look for necessity-makers behind necessities. So if the event is not necessary because of its cause, where does it come from? Is it that the whole sequence is a unified necessity? |
| 23189 | Concepts are rough groups of simultaneous sensations [Nietzsche] |
| Full Idea: Concepts are more or less definite groups of sensations that arrive together. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[086]) | |
| A reaction: I like this because I favour accounts of concepts which root them in experience, and largely growing unthinking out of communcal experience. Nietzsche is very empirical here. Hume would probably agree. |
| 23192 | Concepts don’t match one thing, but many things a little bit [Nietzsche] |
| Full Idea: A concept is an invention that doesn't correspond entirely to anything; but to many things a little bit. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[131]) | |
| A reaction: This seems to cover some concepts quite well, but others not at all. What else does 'square' correspond to? |
| 23187 | Whatever their origin, concepts survive by being useful [Nietzsche] |
| Full Idea: The most useful concepts have survived: however falsely they may have originated. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[063]) | |
| A reaction: The germ of both pragmatism, and of meaning-as-use, here. The alternative views must be that the concepts are accurate or true, or that they are simply a matter of whim, maintained by authority. |
| 23205 | Thought starts as ambiguity, in need of interpretation and narrowing [Nietzsche] |
| Full Idea: A thought in the shape in which it comes is an ambiguous sign that needs interpretation, more precisely, needs an arbitrary narrowing-down and limitation, until it finally becomes unambiguous. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 38[01]) | |
| A reaction: This is exactly my view of propositions, as mental events. Introspect your thinking process. Track the progress from the first glimmer of a thought to its formulation in a finished sentence. Language, unlike propositions, can be ambiguous. |
| 23198 | Aesthetics can be more basic than morality, in our pleasure in certain patterns of experience [Nietzsche] |
| Full Idea: Some of the aesthetic valuations are more fundamental than the moral ones e.g. the pleasure in what is ordered, surveyable, limited, in repetition. The logical, arithmetical and geometrical good feelings form the ground floor of aesthetic valuations. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 35[02]) | |
| A reaction: Nietzsche's originality is so striking because his novel suggestions are always plausible. Lots of modern philosophers (especially, I fear, in the continental tradition) throw out startling ideas which then fail on closer inspection. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 23208 | Caesar and Napoleon point to the future, when they pursue their task regardless of human sacrifice [Nietzsche] |
| Full Idea: In nature's such as Caesar and Napoleon we intuit something of a 'disinterested' laboring on one's marble, regardless of any sacrifice of human beings. The future of the highest human beings lies on here: to bear responsibility and not collapse under it. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 1[056]) | |
| A reaction: Hideous. Nietzsche at his absolute worst. You would think there was some wonderful higher good to which they were leading the human race, when they just strike me as people who liked fighting, and adored winning. |
| 23193 | Napoleon was very focused, and rightly ignored compassion [Nietzsche] |
| Full Idea: With Napoleon only the essential instincts of humanity came into consideration during his calculations, and he had a right not to take notice of the exceptional ones e.g. of compassion. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[131]) | |
| A reaction: Napoleon was notoriously indifferent to casualties, and I find it depressing that Nietzsche supports him. Napoleon brought misery to Europe for nearly twenties, mainly because he loved winning battles. Nothing über about that. |
| 23214 | For the strongest people, nihilism gives you wings! [Nietzsche] |
| Full Idea: In the hands of the strongest every kind of pessimism and nihilism becomes only one more hammer and tool with which one mounts a new pair of wings on oneself. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 2[101]) | |
| A reaction: Not sure how this works. Why is great strength needed? Strength implies forceful overcoming. The wings come from rejecting nihilism, but why does that need strength? Aren't there people with wings who never even thought of nihilism? |
| 23203 | The great question is approaching, of how to govern the earth as a whole [Nietzsche] |
| Full Idea: It is approaching, irrefutably, hesitatingly, terrible as fate, the great task and fate: how should the earth as a whole be governed? | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 37[08]) | |
| A reaction: Two issues have accelerated the question, though we have yet to properly face it. One is the incredible increase in military destructiveness, and other is the damage to the planet caused by the relentless pursuit of wealth. |
| 23200 | The controlling morality of aristocracy is the desire to resemble their ancestors [Nietzsche] |
| Full Idea: The foundation of all aristocracies …is to resemble the ancestors as much as possible, which serves as the controlling morality: mourning at the thought of change and variation. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 35[22]) | |
| A reaction: This makes sense of the permanent residence of the family, full of portraits and family trees. Aristocrats preserve records of their predecessors, in a way that most of us don't, going back before grandparents. |
| 23194 | People feel united as a nation by one language, but then want a common ancestry and history [Nietzsche] |
| Full Idea: People who speak one language and read the same newspapers today call themselves 'nations', and also want much too eagerly to be of common ancestry and history. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[203]) | |
| A reaction: This sort of nationalism is still with us, as white supremacy, and as history as mythology. But we can't just shake off a sense of which gene pools we come from, and which lines of history are our personal inheritance. |
| 23204 | To be someone you need property, and wanting more is healthy [Nietzsche] |
| Full Idea: Property owners are to a man of one belief: 'you have to own something to be something'. But this is the oldest and healthiest of all instincts: I would add 'you have to want more than you have in order to become more'. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 37[11]) | |
| A reaction: An odd idea from someone who spent his later years living in one room in a guest house. The context of this is a rejection of socialism. The love of and need for property and possessions must be taken into account in any politics. |
| 23195 | Laws of nature are actually formulas of power relations [Nietzsche] |
| Full Idea: The alleged 'laws of nature' are formulas for power relationships… | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[247]) | |
| A reaction: Love it. This is precisely the powers ontology of modern philosophy of science. His Will to Power is not often recognised as closely related to this view. |
| 23185 | In chemistry every substance pushes, and thus creates new substances [Nietzsche] |
| Full Idea: In chemistry is revealed that every substance pushes its force as far as it can, then a third something emerges. | |
| From: Friedrich Nietzsche (Unpublished Notebooks 1885-86 [1886], 34[51]) | |
| A reaction: This is the ontology of powers as the basis of science, of which I am a fan. It is Nietzsche's Will to Power in action, which is often mistakenly taken to only refer to human affairs. |