44 ideas
| 19693 | There is practical wisdom (for action), and theoretical wisdom (for deep understanding) [Aristotle, by Whitcomb] |
| Full Idea: Aristotle takes wisdom to come in two forms, the practical and the theoretical, the former of which is good judgement about how to act, and the latter of which is deep knowledge or understanding. | |
| From: report of Aristotle (works [c.330 BCE]) by Dennis Whitcomb - Wisdom Intro | |
| A reaction: The interesting question is then whether the two are connected. One might be thoroughly 'sensible' about action, without counting as 'wise', which seems to require a broader view of what is being done. Whitcomb endorses Aristotle on this idea. |
| 1575 | For Aristotle logos is essentially the ability to talk rationally about questions of value [Roochnik on Aristotle] |
| Full Idea: For Aristotle logos is the ability to speak rationally about, with the hope of attaining knowledge, questions of value. | |
| From: comment on Aristotle (works [c.330 BCE]) by David Roochnik - The Tragedy of Reason p.26 |
| 1589 | Aristotle is the supreme optimist about the ability of logos to explain nature [Roochnik on Aristotle] |
| Full Idea: Aristotle is the great theoretician who articulates a vision of a world in which natural and stable structures can be rationally discovered. His is the most optimistic and richest view of the possibilities of logos | |
| From: comment on Aristotle (works [c.330 BCE]) by David Roochnik - The Tragedy of Reason p.95 |
| 8200 | Aristotelian definitions aim to give the essential properties of the thing defined [Aristotle, by Quine] |
| Full Idea: A real definition, according to the Aristotelian tradition, gives the essence of the kind of thing defined. Man is defined as a rational animal, and thus rationality and animality are of the essence of each of us. | |
| From: report of Aristotle (works [c.330 BCE]) by Willard Quine - Vagaries of Definition p.51 | |
| A reaction: Compare Idea 4385. Personally I prefer the Aristotelian approach, but we may have to say 'We cannot identify the essence of x, and so x cannot be defined'. Compare 'his mood was hard to define' with 'his mood was hostile'. |
| 4385 | Aristotelian definition involves first stating the genus, then the differentia of the thing [Aristotle, by Urmson] |
| Full Idea: For Aristotle, to give a definition one must first state the genus and then the differentia of the kind of thing to be defined. | |
| From: report of Aristotle (works [c.330 BCE]) by J.O. Urmson - Aristotle's Doctrine of the Mean p.157 | |
| A reaction: Presumably a modern definition would just be a list of properties, but Aristotle seeks the substance. How does he define a genus? - by placing it in a further genus? |
| 13282 | Aristotle relativises the notion of wholeness to different measures [Aristotle, by Koslicki] |
| Full Idea: Aristotle proposes to relativise unity and plurality, so that a single object can be both one (indivisible) and many (divisible) simultaneously, without contradiction, relative to different measures. Wholeness has degrees, with the strength of the unity. | |
| From: report of Aristotle (works [c.330 BCE]) by Kathrin Koslicki - The Structure of Objects 7.2.12 | |
| A reaction: [see Koslicki's account of Aristotle for details] As always, the Aristotelian approach looks by far the most promising. Simplistic mechanical accounts of how parts make wholes aren't going to work. We must include the conventional and conceptual bit. |
| 4730 | For Aristotle, the subject-predicate structure of Greek reflected a substance-accident structure of reality [Aristotle, by O'Grady] |
| Full Idea: Aristotle apparently believed that the subject-predicate structure of Greek reflected the substance-accident nature of reality. | |
| From: report of Aristotle (works [c.330 BCE]) by Paul O'Grady - Relativism Ch.4 | |
| A reaction: We need not assume that Aristotle is wrong. It is a chicken-and-egg. There is something obvious about subject-predicate language, if one assumes that unified objects are part of nature, and not just conventional. |
| 13276 | The unmoved mover and the soul show Aristotelian form as the ultimate mereological atom [Aristotle, by Koslicki] |
| Full Idea: Aristotle's discussion of the unmoved mover and of the soul confirms the suspicion that form, when it is not thought of as the object represented in a definition, plays the role of the ultimate mereological atom within his system. | |
| From: report of Aristotle (works [c.330 BCE]) by Kathrin Koslicki - The Structure of Objects 6.6 | |
| A reaction: Aristotle is concerned with which things are 'divisible', and he cites these two examples as indivisible, but they may be too unusual to offer an actual theory of how Aristotle builds up wholes from atoms. He denies atoms in matter. |
| 13277 | The 'form' is the recipe for building wholes of a particular kind [Aristotle, by Koslicki] |
| Full Idea: Thus in Aristotle we may think of an object's formal components as a sort of recipe for how to build wholes of that particular kind. | |
| From: report of Aristotle (works [c.330 BCE]) by Kathrin Koslicki - The Structure of Objects 7.2.5 | |
| A reaction: In the elusive business of pinning down what Aristotle means by the crucial idea of 'form', this analogy strikes me as being quite illuminating. It would fit DNA in living things, and the design of an artifact. |
| 5991 | For Aristotle, knowledge is of causes, and is theoretical, practical or productive [Aristotle, by Code] |
| Full Idea: Aristotle thinks that in general we have knowledge or understanding when we grasp causes, and he distinguishes three fundamental types of knowledge - theoretical, practical and productive. | |
| From: report of Aristotle (works [c.330 BCE]) by Alan D. Code - Aristotle | |
| A reaction: Productive knowledge we tend to label as 'knowing how'. The centrality of causes for knowledge would get Aristotle nowadays labelled as a 'naturalist'. It is hard to disagree with his three types, though they may overlap. |
| 11239 | The notion of a priori truth is absent in Aristotle [Aristotle, by Politis] |
| Full Idea: The notion of a priori truth is conspicuously absent in Aristotle. | |
| From: report of Aristotle (works [c.330 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 1.5 | |
| A reaction: Cf. Idea 11240. |
| 23312 | Aristotle is a rationalist, but reason is slowly acquired through perception and experience [Aristotle, by Frede,M] |
| Full Idea: Aristotle is a rationalist …but reason for him is a disposition which we only acquire over time. Its acquisition is made possible primarily by perception and experience. | |
| From: report of Aristotle (works [c.330 BCE]) by Michael Frede - Aristotle's Rationalism p.173 | |
| A reaction: I would describe this process as the gradual acquisition of the skill of objectivity, which needs the right knowledge and concepts to evaluate new experiences. |
| 16111 | Aristotle wants to fit common intuitions, and therefore uses language as a guide [Aristotle, by Gill,ML] |
| Full Idea: Since Aristotle generally prefers a metaphysical theory that accords with common intuitions, he frequently relies on facts about language to guide his metaphysical claims. | |
| From: report of Aristotle (works [c.330 BCE]) by Mary Louise Gill - Aristotle on Substance Ch.5 | |
| A reaction: I approve of his procedure. I take intuition to be largely rational justifications too complex for us to enunciate fully, and language embodies folk intuitions in its concepts (especially if the concepts occur in many languages). |
| 1556 | By nature people are close to one another, but culture drives them apart [Hippias] |
| Full Idea: I regard you all as relatives - by nature, not by convention. By nature like is akin to like, but convention is a tyrant over humankind and often constrains people to act contrary to nature. | |
| From: Hippias (fragments/reports [c.430 BCE]), quoted by Plato - Protagoras 337c8 |
| 16971 | Plato says sciences are unified around Forms; Aristotle says they're unified around substance [Aristotle, by Moravcsik] |
| Full Idea: Plato's unity of science principle states that all - legitimate - sciences are ultimately about the Forms. Aristotle's principle states that all sciences must be, ultimately, about substances, or aspects of substances. | |
| From: report of Aristotle (works [c.330 BCE], 1) by Julius Moravcsik - Aristotle on Adequate Explanations 1 |
| 11243 | Aristotelian explanations are facts, while modern explanations depend on human conceptions [Aristotle, by Politis] |
| Full Idea: For Aristotle things which explain (the explanantia) are facts, which should not be associated with the modern view that says explanations are dependent on how we conceive and describe the world (where causes are independent of us). | |
| From: report of Aristotle (works [c.330 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 2.1 | |
| A reaction: There must be some room in modern thought for the Aristotelian view, if some sort of robust scientific realism is being maintained against the highly linguistic view of philosophy found in the twentieth century. |
| 3320 | Aristotle's standard analysis of species and genus involves specifying things in terms of something more general [Aristotle, by Benardete,JA] |
| Full Idea: The standard Aristotelian doctrine of species and genus in the theory of anything whatever involves specifying what the thing is in terms of something more general. | |
| From: report of Aristotle (works [c.330 BCE]) by José A. Benardete - Metaphysics: the logical approach Ch.10 |
| 12000 | Aristotle regularly says that essential properties explain other significant properties [Aristotle, by Kung] |
| Full Idea: The view that essential properties are those in virtue of which other significant properties of the subjects under investigation can be explained is encountered repeatedly in Aristotle's work. | |
| From: report of Aristotle (works [c.330 BCE]) by Joan Kung - Aristotle on Essence and Explanation IV | |
| A reaction: What does 'significant' mean here? I take it that the significant properties are the ones which explain the role, function and powers of the object. |
| 23300 | Aristotle and the Stoics denied rationality to animals, while Platonists affirmed it [Aristotle, by Sorabji] |
| Full Idea: Aristotle, and also the Stoics, denied rationality to animals. …The Platonists, the Pythagoreans, and some more independent Aristotelians, did grant reason and intellect to animals. | |
| From: report of Aristotle (works [c.330 BCE]) by Richard Sorabji - Rationality 'Denial' | |
| A reaction: This is not the same as affirming or denying their consciousness. The debate depends on how rationality is conceived. |
| 11240 | The notion of analytic truth is absent in Aristotle [Aristotle, by Politis] |
| Full Idea: The notion of analytic truth is conspicuously absent in Aristotle. | |
| From: report of Aristotle (works [c.330 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 1.5 | |
| A reaction: Cf. Idea 11239. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 6559 | Aristotle never actually says that man is a rational animal [Aristotle, by Fogelin] |
| Full Idea: To the best of my knowledge (and somewhat to my surprise), Aristotle never actually says that man is a rational animal; however, he all but says it. | |
| From: report of Aristotle (works [c.330 BCE]) by Robert Fogelin - Walking the Tightrope of Reason Ch.1 | |
| A reaction: When I read this I thought that this database would prove Fogelin wrong, but it actually supports him, as I can't find it in Aristotle either. Descartes refers to it in Med.Two. In Idea 5133 Aristotle does say that man is a 'social being'. But 22586! |
| 11150 | It is the mark of an educated mind to be able to entertain an idea without accepting it [Aristotle] |
| Full Idea: It is the mark of an educated mind to be able to entertain an idea without accepting it. | |
| From: Aristotle (works [c.330 BCE]) | |
| A reaction: The epigraph on a David Chalmers website. A wonderful remark, and it should be on the wall of every beginners' philosophy class. However, while it is in the spirit of Aristotle, it appears to be a misattribution with no ancient provenance. |
| 3037 | Aristotle said the educated were superior to the uneducated as the living are to the dead [Aristotle, by Diog. Laertius] |
| Full Idea: Aristotle was asked how much educated men were superior to those uneducated; "As much," he said, "as the living are to the dead." | |
| From: report of Aristotle (works [c.330 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 05.1.11 |
| 8660 | There are potential infinities (never running out), but actual infinity is incoherent [Aristotle, by Friend] |
| Full Idea: Aristotle developed his own distinction between potential infinity (never running out) and actual infinity (there being a collection of an actual infinite number of things, such as places, times, objects). He decided that actual infinity was incoherent. | |
| From: report of Aristotle (works [c.330 BCE]) by Michèle Friend - Introducing the Philosophy of Mathematics 1.3 | |
| A reaction: Friend argues, plausibly, that this won't do, since potential infinity doesn't make much sense if there is not an actual infinity of things to supply the demand. It seems to just illustrate how boggling and uncongenial infinity was to Aristotle. |
| 12058 | Aristotle's matter can become any other kind of matter [Aristotle, by Wiggins] |
| Full Idea: Aristotle's conception of matter permits any kind of matter to become any other kind of matter. | |
| From: report of Aristotle (works [c.330 BCE]) by David Wiggins - Substance 4.11.2 | |
| A reaction: This is obviously crucial background information when we read Aristotle on matter. Our 92+ elements, and fixed fundamental particles, gives a quite different picture. Aristotle would discuss form and matter quite differently now. |
| 22729 | The concepts of gods arose from observing the soul, and the cosmos [Aristotle, by Sext.Empiricus] |
| Full Idea: Aristotle said that the conception of gods arose among mankind from two originating causes, namely from events which concern the soul and from celestial phenomena. | |
| From: report of Aristotle (works [c.330 BCE], Frag 10) by Sextus Empiricus - Against the Physicists (two books) I.20 | |
| A reaction: The cosmos suggests order, and possible creation. What do events of the soul suggest? It doesn't seem to be its non-physical nature, because Aristotle is more of a functionalist. Puzzling. (It says later that gods are like the soul). |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |