11 ideas
| 14596 | Call 'nominalism' the denial of numbers, properties, relations and sets [Dorr] |
| Full Idea: Just as there are no numbers or properties, there are no relations (like 'being heavier than' or 'betweenness'), or sets. I will provisionally use 'nominalism' for the conjunction of these four claims. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 1) | |
| A reaction: If you are going to be a nominalist, do it properly! My starting point in metaphysics is strong sympathy with this view. Right now [Tues 22nd Nov 2011, 10:57 am GMT] I think it is correct. |
| 14597 | Natural Class Nominalism says there are primitive classes of things resembling in one respect [Dorr] |
| Full Idea: Natural Class Nominalists take as primitive the notion of a 'natural' class - a class of things that all resemble one another in some one respect and resemble nothing else in that respect. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 4) | |
| A reaction: Dorr rejects this view because he doesn't believe in 'classes'. How committed to classes do you have to be before you are permitted to talk about them? All vocabulary (such as 'resemble') seems metaphysically tainted in this area. |
| 14598 | Abstracta imply non-logical brute necessities, so only nominalists can deny such things [Dorr] |
| Full Idea: If there are abstract objects, there are necessary truths about these things that cannot be reduced to truths of logic. So only the nominalist, who denies that there are any such things, can adequately respect the idea that there are no brute necessities. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 4) | |
| A reaction: This is where two plates of my personal philosophy grind horribly against one another. I love nominalism, and I love natural necessities. They meet like a ring-species in evolution. I'll just call it a 'paradox', and move on (swiftly). |
| 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). |
| 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. |
| 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. |
| 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!). |
| 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. |
| 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? |
| 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. |