8 ideas
| 15663 | Adorno and Horkheimer subjected the Enlightenment to 'critical theory' analysis [Adorno/Horkheimer, by Finlayson] |
| Full Idea: Adorno and Horkheimer's analysis of Enlightenment sets the agenda for the subsequent development of critical theory. | |
| From: report of T Adorno / M Horkheimer (Dialectic of Enlightenment [1944]) by James Gordon Finlayson - Habermas Ch.1:07 |
| 7628 | Broad rejects the inferential component of the representative theory [Broad, by Maund] |
| Full Idea: Broad, one of the most important modern defenders of the representative theory of perception, explicitly rejects the inferential component of the theory. | |
| From: report of C.D. Broad (Mind and Its Place in Nature [1925]) by Barry Maund - Perception Ch.1 | |
| A reaction: Since the supposed inferences happen much too quickly to be conscious, it is hard to see how we could distinguish an inference from an interpretation mechanism. Personally I interpret things long before the question of truth arises. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 20572 | De Sade said it was impossible to rationally argue against murder [Adorno/Horkheimer] |
| Full Idea: De Sade trumpeted far and wide the impossibility of deriving from reason any fundamental argument against murder. | |
| From: T Adorno / M Horkheimer (Dialectic of Enlightenment [1944], p.118) | |
| A reaction: [They focus on 'Juliette'] This is a big problem for utilitarians, because murdering an unhappy person may maximise happiness. Presumably a maniac could will universal carnage, and thus thwart Kant. |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |