Louis Arnaud Reid; Art: feeling and knowing, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 43–52, https://doi.org/10.1111/j.1467-97.

The main problem which I wish to discuss in this paper may be set out in the form of a very simple question. It is this: What makes an artist—whether he be painter, sculptor, musician, poet, or anything else—desire to produce a work of art and to go on working until he has done so?

Mrs. Langer is to be warmly congratulated on this monumental work on the philosophy of aesthetics, a sequel to her Philosophy in a New Key. She brings all the equipment of her trained and firstrate philosophical mind to bear upon the fundamental problems of art and the arts. In Part I she speaks generally of aesthetics. In Part II she writes of the ways in which aesthetic symbolism works out in visual arts, in music, in song, and opera, in dance, (...) in poetry and other forms of literature, and in drama both comic and tragic. The book concludes (Part III) with a suggestive essay on ‘The Power of the Symbol’. (shrink)

The problem before us is the question: How far is the term ‘ instinct ‘ applicable in ethics? How far is it true to say that instincts are the determinants of the good, or moral, life? And if it is true at all to say they are determinants, how Far is it true?

I want to concentrate on two kinds of talking about the arts. One concerns those aspects of the language of philosophical aesthetics in which generalisations about ‘art’ and ‘the arts’ are made. The other concerns the language of the critic in so far as it can be stated as having a very particular aim: ‘the stimulation’ ‘of interest and the heightening of insight and the education of his ability to make his own appreciative judgments from direct experience’.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Louis Arnaud Reid; Knowledge, Aesthetic Insight and Education, Journal of Philosophy of Education, Volume 7, Issue 1, 30 May 2006, Pages 66–84, https://doi.org/.

Louis Arnaud Reid; XI*—Feeling, Thinking, Knowing, Proceedings of the Aristotelian Society, Volume 77, Issue 1, 1 June 1977, Pages 165–182, https://doi.org/10.1.

The purpose of the following article is to suggest certain problems, rather than to offer philosophical solutions of problems. I propose to state certain questions which are sometimes asked and to try to say both why it is important that they should be asked, and why, if we do ask them, we should endeavour to answer them as accurately as we can. A full discussion of what the true answers to the questions are will be beyond the province of this (...) paper, and, if certain answers are suggested in passing, it will only be because it is difficult to make anything which consists of a mere sequence of questions at all interesting or readable. (shrink)

In this article I shall employ the word “spiritual” for want of a better. It is not a particularly good word, for it is “emotive,” stirring up sentimental feelings in some people and causing the sympathies of others to shut up like clams. “Personal” is in some ways less objectionable, but a title like “The Personal Basis of Democracy” might suggest a thesis other than I have in mind. Nor is the word “moral” nearly wide enough. As to the meaning (...) of “spiritual” all I can say now is that my readers will have at least some idea of what I am referring to by the time they reach the end of the article. (shrink)

The following extracts come from a memoir of philosophical life between the wars and after, written in the 1970s by the Anglo-Scottish philosopher Louis Arnaud Reid (1895–1986).2 Today Reid is best known for his writings on aesthetics, and as the holder of the foundation chair in the philosophy of education at the University of London. Reid will also be familiar to those who have read A.J. Ayer's account of Ayer's appointment to the chair of philosophy at London, for (...) Reid was the candidate strongly preferred by the philosophers on the selection committee.3 Reid regretted the rise of logical positivism in the later 1930s because it introduced a break with the earlier world of humane philosophical discourse.In these extracts, edited by his grandson, Reid begins by giving a sense of the breadth of topics covered in philosophical conferences in the 1920s, before sketching some of the characters involved. He mentions of course a number of figures still familiar to us, from Moore to Russell to Wittgenstein, but tries more generally to give an impression of a philosophical world which is now largely lost. These are themes he continues elsewhere in the book, where he discusses the people he knew at Edinburgh, Aberystwyth, Liverpool, Newcastle and London. (shrink)