13 ideas
| 7662 | Romanticism is the greatest change in the consciousness of the West [Berlin] |
| Full Idea: Romanticism seems to me the greatest single shift in the consciousness of the West that has occurred. | |
| From: Isaiah Berlin (The Roots of Romanticism [1965], Ch.1) | |
| A reaction: Far be it from me to challenge Berlin on such things, but I think that the scientific revolution of the seventeenth century (though acting more slowly and less dramatically than romanticism) may well be more significant in the long run. Ideas filter down. |
| 7518 | If folk psychology gives a network of causal laws, that fits neatly with functionalism [Churchland,PM] |
| Full Idea: The portrait of folk psychology as a network of causal laws dovetailed neatly with the emerging philosophy of mind called functionalism. | |
| From: Paul M. Churchland (Folk Psychology [1996], II) | |
| A reaction: And from the lower levels functionalism is supported by the notion that the brain is modular. Note the word 'laws'; this implies an underlying precision in folk psychology, which is then easily attacked. Maybe the network is too complex for simple laws. |
| 7519 | Many mental phenomena are totally unexplained by folk psychology [Churchland,PM] |
| Full Idea: Folk psychology fails utterly to explain a considerable variety of central psychological phenomena: mental illness, sleep, creativity, memory, intelligence differences, and many forms of learning, to cite just a few. | |
| From: Paul M. Churchland (Folk Psychology [1996], III) | |
| A reaction: If folk psychology is a theory, it will have been developed to predict behaviour, rather than as a full-blown psychological map. The odd thing is that some people seem to be very bad at folk psychology. |
| 7520 | Folk psychology never makes any progress, and is marginalised by modern science [Churchland,PM] |
| Full Idea: Folk psychology has not progressed significantly in the last 2500 years; if anything, it has been steadily in retreat during this period; it does not integrate with modern science, and its emerging wallflower status bodes ill for its future. | |
| From: Paul M. Churchland (Folk Psychology [1996], III) | |
| A reaction: [compressed] However, while shares in alchemy and astrology have totally collapsed, folk psychology shows not the slightest sign of going away, and it is unclear how it ever could. See Idea 3177. |
| 7665 | Most Enlightenment thinkers believed that virtue consists ultimately in knowledge [Berlin] |
| Full Idea: What is common to most of the main thinker of the Enlightenment is the view that virtue consists ultimately in knowledge. | |
| From: Isaiah Berlin (The Roots of Romanticism [1965], Ch.2) | |
| A reaction: I have always found this view (which seems to originate with Socrates) rather sympathetic. What is so frustrating about cheerful optimists who smoke cigarettes is not the weakness of will or strong desires, but their apparent failure of understanding. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 7676 | If we are essentially free wills, authenticity and sincerity are the highest virtues [Berlin] |
| Full Idea: Since (for romantics) we are wills, and we must be free, in the Kantian sense, controllable motives count more than consequences, and the greatest virtue of all is what existentialists call 'authenticity' and what romantics called 'sincerity'. | |
| From: Isaiah Berlin (The Roots of Romanticism [1965], Ch.6) | |
| A reaction: The case of the sincere or authentic Nazi shows the problems with this. However, I agree that sincerity is a key virtue, perhaps the crucial preliminary to all the other virtues. It is hard to imagine a flow of other virtues from an insincere person. |
| 7664 | The Greeks have no notion of obligation or duty [Berlin] |
| Full Idea: There is an absence among the Greeks of a notion of obligation, and hence of duty, which is difficult to grasp for people who read the Greeks through spectacles partly affected by the jews. | |
| From: Isaiah Berlin (The Roots of Romanticism [1965], Ch.1) | |
| A reaction: This doesn't quite fit early section of 'Republic', in which morality is a mutual agreement not to do harm. Presumably the Greek word 'deon' refers to what needs to be done, rather than to anyone's obligation to do it(?). Contracts need duty? Cf. 4133 |
| 7677 | Central to existentialism is the romantic idea that there is nothing to lean on [Berlin] |
| Full Idea: The central sermon of existentialism is essentially a romantic one, namely, that there is in the world nothing to lean on. | |
| From: Isaiah Berlin (The Roots of Romanticism [1965], Ch.6) | |
| A reaction: He tracks this back to Kant's view that our knowledge of the world arises out of our own minds. So what is there to lean on? Rational consistency? Natural human excellence? God? Pleasure? Anonymous duty? I like the second one. |
| 7663 | Judaism and Christianity views are based on paternal, family and tribal relations [Berlin] |
| Full Idea: The notion from which both Judaism and Christianity to a large degree sprang is the notion of family life, the relations of father and son, perhaps the relations of members of a tribe to one another. | |
| From: Isaiah Berlin (The Roots of Romanticism [1965], Ch.1) | |
| A reaction: He compares this with Plato's mathematical view of reality. Key stories would be Abraham and Isaac, and Jesus being the 'son' of God, which both touch the killing of the child. Berlin means that the universe is explained this way. |