16 ideas
| 21054 | Reason enables the unbounded extension of our rules and intentions [Kant] |
| Full Idea: Reason, in a creature, is a faculty which enables that creature to extend far beyond the limits of natural instinct the rules and intentions it follows in using its various powers, and the range of its project is unbounded. | |
| From: Immanuel Kant (Idea for a Universal History [1784], 2nd) | |
| A reaction: I'm inclined to identify the mind's creation of universals as the source of this power, rather than reason. Generalisations are infinitely extensible. Cantor's infinities are a nice example. Can't ideas be extended irrationally? |
| 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. |
| 13342 | Carnap defined consequence by contradiction, but this is unintuitive and changes with substitution [Tarski on Carnap] |
| Full Idea: Carnap proposed to define consequence as 'sentence X follows from the sentences K iff the sentences K and the negation of X are contradictory', but 1) this is intuitively impossible, and 2) consequence would be changed by substituting objects. | |
| From: comment on Rudolph Carnap (The Logical Syntax of Language [1934], p.88-) by Alfred Tarski - The Concept of Logical Consequence p.414 | |
| A reaction: This seems to be the first step in the ongoing explicit discussion of the nature of logical consequence, which is now seen by many as the central concept of logic. Tarski brings his new tool of 'satisfaction' to bear. |
| 13251 | Each person is free to build their own logic, just by specifying a syntax [Carnap] |
| Full Idea: In logic, there are no morals. Everyone is at liberty to build his own logic, i.e. his own form of language. All that is required is that he must state his methods clearly, and give syntactical rules instead of philosophical arguments. | |
| From: Rudolph Carnap (The Logical Syntax of Language [1934], §17), quoted by JC Beall / G Restall - Logical Pluralism 7.3 | |
| A reaction: This is understandable, but strikes me as close to daft relativism. If I specify a silly logic, I presume its silliness will be obvious. By what criteria? I say the world dictates the true logic, but this is a minority view. |
| 21053 | The manifest will in the world of phenomena has to conform to the laws of nature [Kant] |
| Full Idea: Whatever conception of the freedom of the will one may form in terms of metaphysics, the will's manifestations in the world of phenomena, i.e. human actions, are determined in accordance with natural laws, as is every other natural event. | |
| From: Immanuel Kant (Idea for a Universal History [1784], Intro) | |
| A reaction: So free will either requires total substance dualism, or it is best described as transcendental fictionalism. This seems to imply the Leibnizian idea that metaphysics contains facts which having nothing to do with the physical world. |
| 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? |
| 21055 | Our aim is a constitution which combines maximum freedom with strong restraint [Kant] |
| Full Idea: The highest task which nature has set mankind is to establish a society in which freedom under external laws would be combined to the greatest possible extent with irresistible force, in other words of establishing a perfectly just constitution. | |
| From: Immanuel Kant (Idea for a Universal History [1784], 5th) | |
| A reaction: The 'force' is to restrict the harms that may result from individual freedom. This seems to equate justice with liberal freedom. Force can prevent direct harm to others, but what to do about indirect harm? Many lack freedom, but whose fault is it? |
| 21056 | The vitality of business needs maximum freedom (while avoiding harm to others) [Kant] |
| Full Idea: If the citizen is deterred from seeking his personal welfare in any way he chooses which is consistent with the freedom of others, the vitality of business in general and hence also the strength of the whole are held in check. | |
| From: Immanuel Kant (Idea for a Universal History [1784], 8th) | |
| A reaction: This is a rather American view of liberalism. Kant has been praising the virtues of aggressive competition. |
| 21057 | The highest ideal of social progress is a universal cosmopolitan existence [Kant] |
| Full Idea: There is hope that the highest purpose of nature, a universal cosmopolitan existence, will at last be realised as the matrix within which all the original capacities of the human race may develop. | |
| From: Immanuel Kant (Idea for a Universal History [1784], 8th) | |
| A reaction: Apart from Diogenes of Sinope, Kant seems to have been the first great champion of the cosmopolitan ideal. As I write (2018) the western world is putting up growing barriers against immigrants. I think my response may be to adopt Kantian cosmopolitanism. |