Best 7 quotes of Bryan Magee on MyQuotes

I have very strongly this feeling that our everyday life is at one and the same time banal, overfamiliar, platitudinous and yet mysterious and extraordinary.

Superstitions and belief in magic are perennial in just the same way as religion, and something near to being universal among mankind; and why this is so may be interesting, but in most cases the beliefs themselves are devoid of interesting content, at least to me.

The basic drive behind real philosophy is curiosity about the world, not interest in the writings of philosophers.

The basic drive behind real philosophy is curiosity about the world, not interest in the writings of philosophers. Each of us emerges from the preconsciousness of babyhood and simply finds himself here, in it, in the world. That experience alone astonishes some people. What is all this - what is the world? And what are we? From the beginning of humanity some have been under a compulsion to ask these questions, and have felt a craving for the answers. This is what is really meant by any such phrase as 'mankind's need for metaphysics.'

The Copernican revolution brought about by Kant was, I think, the most important single turning point in the history of philosophy.

To take, for example, my own death: what I consider most likely to be true is that death will be the complete and utter end of my existence, with no successor existence of any kind that can be related to me as I now am. And if that is not the case, the next most likely scenario, it seems to me, is something along the lines indicated by Schopenhauer. But neither of these is what I most want. What I want to be true is that I have an individual, innermost self, a soul, which is the real me and which survives my death. That too could be true. But alas, I do not believe it.

It follows from Schopenhauer’s analysis that evert genuine work of art must have its origin in direct perception; that is to say it does not originate in concepts, and concepts are not what it communicates. This is what more than anything else differentiates good art from bad, or more accurately authentic from inauthentic art. The latter often originates in a desire on the part of the artist to meet some demand external to himself – to win approval, say, or be in the fashion, or supply a market – or else to put over a message of some sort. Such an artist starts by trying to thin what it would be a good idea to do – in other words, the starting point of the process for him is something that exists in terms of concepts. The inevitable result is dead art, of whatever kind, whether imitative, academic, commercial, didactic or fashion-conscious. It may be successful in its day because it meets the demands of its day, but once that day is over it has no inner life of its own with which to outlive it.