33 ideas
| 6118 | Philosophy is logical analysis, followed by synthesis [Russell] |
| Full Idea: The business of philosophy, as I conceive it, is essentially that of logical analysis, followed by logical synthesis. | |
| From: Bertrand Russell (Logical Atomism [1924], p.162) | |
| A reaction: I am uneasy about Russell's hopes for the contribution that logic could make, but I totally agree that analysis is the route to wisdom, and I take Aristotle as my role model of an analytical philosopher, rather than the modern philosophers of logic. |
| 6116 | A logical language would show up the fallacy of inferring reality from ordinary language [Russell] |
| Full Idea: We are trying to create a perfectly logical language to prevent inferences from the nature of language to the nature of the world, which are fallacious because they depend upon the logical defects of language. | |
| From: Bertrand Russell (Logical Atomism [1924], p.159) | |
| A reaction: Wittgenstein seems to have rebelled against this idea, so that one strand of his later philosophy leads to 'ordinary language' philosophy, which is exactly what Russell is criticising. Wittgenstein seems to have seen 'logical language' as an oxymoron. |
| 6117 | Philosophy should be built on science, to reduce error [Russell] |
| Full Idea: We would be wise to build our philosophy upon science, because the risk of error in philosophy is pretty sure to be greater than in science. | |
| From: Bertrand Russell (Logical Atomism [1924], p.160) | |
| A reaction: If you do very little, it reduces the 'risk of error'. I agree that philosophers should start from the facts, and be responsive to new facts, and that science is excellent at discovering facts. But I don't think cognitive science is the new epistemology. |
| 6110 | Subject-predicate logic (and substance-attribute metaphysics) arise from Aryan languages [Russell] |
| Full Idea: It is doubtful whether the subject-predicate logic, with the substance-attribute metaphysic, would have been invented by people speaking a non-Aryan language. | |
| From: Bertrand Russell (Logical Atomism [1924], p.151) | |
| A reaction: This is not far off the Sapir-Whorf Hypothesis (e.g. Idea 3917), which Russell would never accept. I presume that Russell would see true logic as running deeper, and the 'Aryan' approach as just one possible way to describe it. |
| 6107 | It is logic, not metaphysics, that is fundamental to philosophy [Russell] |
| Full Idea: I hold that logic is what is fundamental in philosophy, and that schools should be characterised rather by their logic than by their metaphysics. | |
| From: Bertrand Russell (Logical Atomism [1924], p.143) | |
| A reaction: Personally I disagree. Russell seems to have been most interested in the logical form underlying language, but that seems to be because he was interested in the ontological implications of what we say, which is metaphysics. |
| 6115 | Vagueness, and simples being beyond experience, are obstacles to a logical language [Russell] |
| Full Idea: The fact that we do not experience simples is one obstacle to the actual creation of a correct logical language, and vagueness is another. | |
| From: Bertrand Russell (Logical Atomism [1924], p.159) | |
| A reaction: The dream of creating a perfect logical language looks doomed from the start, but it is a very interesting project to try to pinpoint why it is unlikely to be possible. I say a perfect language cuts nature exactly at the joints, so find the joints. |
| 6109 | Some axioms may only become accepted when they lead to obvious conclusions [Russell] |
| Full Idea: Some of the premisses (of my logicist theory) are much less obvious than some of their consequences, and are believed chiefly because of their consequences. This will be found to be always the case when a science is arranged as a deductive system. | |
| From: Bertrand Russell (Logical Atomism [1924], p.145) | |
| A reaction: We shouldn't assume the model of self-evident axioms leading to surprising conclusions, which is something like the standard model for rationalist foundationalists. Russell nicely points out that the situation could be just the opposite |
| 6108 | Maths can be deduced from logical axioms and the logic of relations [Russell] |
| Full Idea: I think that no one will dispute that from certain ideas and axioms of formal logic, but with the help of the logic of relations, all pure mathematics can be deduced. | |
| From: Bertrand Russell (Logical Atomism [1924], p.145) | |
| A reaction: It has been said for a long time that Gödel's Incompleteness Theorems of 1930 disproved this claim, though recently there have been defenders of logicism. Beginning with 'certain ideas' sounds like begging the question. |
| 10968 | Russell gave up logical atomism because of negative, general and belief propositions [Russell, by Read] |
| Full Idea: Russell preceded Wittgenstein in deciding that the reduction of all propositions to atomic propositions could not be achieved. The problem cases were negative propositions, general propositions, and belief propositions. | |
| From: report of Bertrand Russell (Logical Atomism [1924]) by Stephen Read - Thinking About Logic Ch.1 |
| 6113 | To mean facts we assert them; to mean simples we name them [Russell] |
| Full Idea: The way to mean a fact is to assert it; the way to mean a simple is to name it. | |
| From: Bertrand Russell (Logical Atomism [1924], p.156) | |
| A reaction: Thus logical atomism is a linguistic programme, of reducing our language to a foundation of pure names. The recent thought of McDowell and others is aimed at undermining any possibility of a 'simple' in perception. The myth of 'The Given'. |
| 6114 | 'Simples' are not experienced, but are inferred at the limits of analysis [Russell] |
| Full Idea: When I speak of 'simples' I am speaking of something not experienced as such, but known only inferentially as the limits of analysis. | |
| From: Bertrand Russell (Logical Atomism [1924], p.158) | |
| A reaction: He claims that the simples are 'known', so he does not mean purely theoretical entities. They have something like the status of quarks in physics, whose existence is inferred from experience. |
| 21722 | Better to construct from what is known, than to infer what is unknown [Russell] |
| Full Idea: Whenever possible, substitute constructions out of known entities for inferences to unknown entities. | |
| From: Bertrand Russell (Logical Atomism [1924], p.161), quoted by Bernard Linsky - Russell's Metaphysical Logic 7 | |
| A reaction: In 1919 he said that the alternative, of 'postulating' new entities, has 'all the advantages of theft over honest toil' [IMP p.71]. This is Russell's commitment to 'constructing' everything, even his concept of matter. Arithmetic as PA is postulation. |
| 6111 | As propositions can be put in subject-predicate form, we wrongly infer that facts have substance-quality form [Russell] |
| Full Idea: Since any proposition can be put into a form with a subject and a predicate, united by a copula, it is natural to infer that every fact consists in the possession of a quality by a substance, which seems to me a mistake. | |
| From: Bertrand Russell (Logical Atomism [1924], p.152) | |
| A reaction: This disagrees with McGinn on facts (Idea 6075). I approve of this warning from Russell, which is a recognition that we can't just infer our metaphysics from our language. I think of this as the 'Frege Fallacy', which ensnared Quine and others. |
| 6112 | Meaning takes many different forms, depending on different logical types [Russell] |
| Full Idea: There is not one relation of meaning between words and what they stand for, but as many relations of meaning, each of a different logical type, as there are logical types among the objects for which there are words. | |
| From: Bertrand Russell (Logical Atomism [1924], p.153) | |
| A reaction: This might be a good warning for those engaged in the externalist/internalist debate over the meaning of concepts such as natural kind terms like 'water'. I could have an external meaning for 'elms', but an internal meaning for 'ferns'. |
| 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. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 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. |
| 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? |