12 ideas
| 7083 | Highest reason is aesthetic, and truth and good are subordinate to beauty [Hegel] |
| Full Idea: I am now convinced that the highest act of reason, which embraces all ideas, is an aesthetic act, and that truth and goodness are brothers only in beauty. | |
| From: Georg W.F.Hegel (Oldest System Prog. of German Idealism [1796]), quoted by Simon Critchley - Continental Philosophy - V. Short Intro Append | |
| A reaction: This seems to be the distinctive value framework of the romantic movement and the nineteenth century, where art is destined to replace religion. However, Plato in the Symposium is an interesting ally. Aim for beauty, and the rest follows? |
| 3488 | Freud treats the unconscious as intentional and hence mental [Freud, by Searle] |
| Full Idea: Freud thinks that our unconscious mental states exist as occurrent intrinsic intentional states even when unconscious. Their ontology is that of the mental, even when they are unconscious. | |
| From: report of Sigmund Freud (works [1900]) by John Searle - The Rediscovery of the Mind Ch. 7.V | |
| A reaction: Searle states this view in order to attack it. Whether such states are labelled as 'mental' seems uninteresting. Whether unconscious states can be intentional is crucial, and modern scientific understanding of the brain strongly suggest they can. |
| 5689 | Freud and others have shown that we don't know our own beliefs, feelings, motive and attitudes [Freud, by Shoemaker] |
| Full Idea: Freud persuaded many that beliefs, wishes and feelings are sometimes unconscious, and even sceptics about Freud acknowledge that there is self-deception about motive and attitudes. | |
| From: report of Sigmund Freud (works [1900]) by Sydney Shoemaker - Introspection p.396 | |
| A reaction: This seems to me obviously correct. The traditional notion is that the consciousness is the mind, but now it seems obvious that consciousness is only one part of the mind, and maybe even a peripheral (epiphenomenal) part of it. |
| 23950 | Freud said passions are pressures of some flowing hydraulic quantity [Freud, by Solomon] |
| Full Idea: Freud argued that the passions in general …were the pressures of a yet unknown 'quantity' (which he simply designated 'Q'). He first thought this flowed through neurones, …and always couched the idea in the language of hydraulics. | |
| From: report of Sigmund Freud (works [1900]) by Robert C. Solomon - The Passions 3.4 | |
| A reaction: This is the main target of Solomon's criticism, because its imagery has become so widespread. It leads to talk of suppressing emotions, or sublimating them. However, it is not too different from Nietzsche's 'drives' or 'will to power'. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 22344 | Freud is pessimistic about human nature; it is ambivalent motive and fantasy, rather than reason [Freud, by Murdoch] |
| Full Idea: Freud takes a thoroughly pessimistic view of human nature. ...Introspection reveals only the deep tissue of ambivalent motive, and fantasy is a stronger force than reason. Objectivity and unselfishness are not natural to human beings. | |
| From: report of Sigmund Freud (works [1900], II) by Iris Murdoch - The Sovereignty of Good II | |
| A reaction: Interesting. His view seems to have coloured the whole of modern culture, reinforced by the hideous irrationality of the Nazis. Adorno and Horkheimer attacking the Enlightenment was the last step in that process. |