14 ideas
| 9777 | Kant was the first philosopher [Zizek] |
| Full Idea: From today's perspective it is in a way clear that Kant was the first philosopher. Pre-Kantian philosophy cannot think in his transcendental aspect. | |
| From: Slavoj Zizek (Conversations, with Glyn Daly [2004], §1) | |
| A reaction: It is probably equally plausible to say that Kant was the last philosopher. More thought-provoking than true. |
| 9778 | There is no dialogue in philosophy [Zizek] |
| Full Idea: I think I truly became a philosopher when I realised that there is no dialogue in philosophy. Plato's dialogues are clearly fakes, with one guy talking most of the time. ...Philosophy as an interdisciplinary project is the ultimate nightmare. | |
| From: Slavoj Zizek (Conversations, with Glyn Daly [2004], §1) | |
| A reaction: This goes against all my prejudices in favour of teamwork and mutual criticism (e.g. Idea 1576), but I was a bit shaken by it, and have begun to wonder whether I must just face up to the solitary nature of the enterprise. |
| 9779 | Philosophy is transcendental questioning (not supporting science or constructing ontology) [Zizek] |
| Full Idea: Philosophy can no longer play its traditional roles, giving foundations to science, or constructing general ontology. It should simply fulfil its task of transcendental questioning. | |
| From: Slavoj Zizek (Conversations, with Glyn Daly [2004], §2) | |
| A reaction: I remain unsure what is being recommended, unless it is for philosophy to start asking questions just at the point where everyone else gives up. |
| 9780 | Consciousness is a malfunction of evolution [Zizek] |
| Full Idea: Consciousness is a kind of mistake, a malfunction of evolution, and out of this mistake a miracle occurred. | |
| From: Slavoj Zizek (Conversations, with Glyn Daly [2004], §2) | |
| A reaction: Rather hard to prove, but actually quite an uplifting thought. If consciousness only evolved so that we could navigate and defend ourselves, our 'higher' activities seem irrelevant. But Zizek's view means we can make them central. Nice. |
| 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. |
| 9781 | Tolerance and love are strategies to avoid encountering our neighbours [Zizek] |
| Full Idea: All this preaching about tolerance, love for one's neighbour and so on, are ultimately strategies to avoid encountering the neighbour. | |
| From: Slavoj Zizek (Conversations, with Glyn Daly [2004], §2) | |
| A reaction: I have begun to wonder whether some such motivation underlies the modern obsession with raising huge sums for charity. |
| 9111 | God is not wise, but more-than-wise; God is not good, but more-than-good [William of Ockham] |
| Full Idea: God is not wise, but more-than-wise; God is not good, but more-than-good. | |
| From: William of Ockham (Reportatio [1330], III Q viii) | |
| A reaction: [He is quoting 'Damascene'] I quote this for interest, but I very much doubt whether Damascene or William knew what it meant, and I certainly don't. There seems to have been a politically correct desire to invent super-powers for God. |
| 9112 | We could never form a concept of God's wisdom if we couldn't abstract it from creatures [William of Ockham] |
| Full Idea: What we abstract is said to belong to perfection in so far as it can be predicated of God and can stand for Him. For if such a concept could not be abstracted from a creature, then in this life we could not arrive at a cognition of God's wisdom. | |
| From: William of Ockham (Reportatio [1330], III Q viii) | |
| A reaction: This seems to be the germ of an important argument. Without the ability to abstract from what is experienced, we would not be able to apply general concepts to things which are beyond experience. It is a key idea for empiricism. |