56 ideas
| 1887 | You cannot divide anything into many parts, because after the first division you are no longer dividing the original [Sext.Empiricus] |
| Full Idea: You cannot divide anything (such as the decad) into many parts, because as soon as you separate the first part, you are no longer dividing the original. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.215) |
| 1885 | Proof moves from agreed premises to a non-evident inference [Sext.Empiricus] |
| Full Idea: Dogmatists define proof as "an argument which, by means of agreed premises, reveals by way of deduction a nonevident inference". | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.135) |
| 12196 | A valid hypothetical syllogism is 'that which does not begin with a truth and end with a falsehood' [Sext.Empiricus] |
| Full Idea: Philo (of Megara) says that a valid hypothetical syllogism is 'that which does not begin with a truth and end with a falsehood,' as for instance the syllogism 'If it is day, I converse,' when in fact it is day and I am conversing. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.110) | |
| A reaction: Russell endorses this, and Rumfitt quotes it as the classic case of denying that there is any modal aspect (such as 'logical necessity') involved in logical consequence. He labels it 'material or Philonian consequence'. |
| 1902 | Since Socrates either died when he was alive (a contradiction) or died when he was dead (meaningless), he didn't die [Sext.Empiricus] |
| Full Idea: If Socrates died, he died either when he lived or when he died; so he was either dead when he was alive, or he was twice dead when he was dead. So he didn't die. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.111) | |
| A reaction: One of my favourites. Of all the mysteries facing us, the one that boggles me most is how anything can happen in the 'present' moment, if the present is just the overlap point between past and future. |
| 1889 | If an argument has an absurd conclusion, we should not assent to the absurdity, but avoid the absurd argument [Sext.Empiricus] |
| Full Idea: If an argument leads to confessedly absurd conclusions, we should not assent to the absurdity just because of the argument, but avoid the argument because of the absurdity. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.252) | |
| A reaction: cf. G.E.Moore. Denying that you have a hand seems to be an absurdity, but I'm not sure if I can give a criterion for absurdity in such a case. One person's modus ponens is another person's modus tollens. |
| 1871 | Whether honey is essentially sweet may be doubted, as it is a matter of judgement rather than appearance [Sext.Empiricus] |
| Full Idea: Honey appears to sceptics to be sweet, but whether it is also sweet in its essence is for us a matter of doubt, since this is not an appearance but a judgement. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.20) |
| 1883 | How can the intellect know if sensation is reliable if it doesn't directly see external objects? [Sext.Empiricus] |
| Full Idea: Just as you can't know if a portrait of Socrates is good without seeing the man, so when the intellect gazes on sensations but not the external objects it cannot know whether they are similar. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.75) |
| 1890 | We distinguish ambiguities by seeing what is useful [Sext.Empiricus] |
| Full Idea: It is the experience of what is useful in each affair that brings about the distinguishing of ambiguities. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.258) |
| 1870 | The basis of scepticism is the claim that every proposition has an equal opposing proposition [Sext.Empiricus] |
| Full Idea: The main basic principle of the sceptic system is that of opposing to every proposition an equal proposition. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.12) |
| 1882 | The necks of doves appear different in colour depending on the angle of viewing [Sext.Empiricus] |
| Full Idea: The necks of doves appear different in hue according to the differences in the angle of inclination. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.120) |
| 1873 | If we press the side of an eyeball, objects appear a different shape [Sext.Empiricus] |
| Full Idea: When we press the eyeball at one side the forms, figures and sizes of the objects appear oblong and narrow. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.47) |
| 1872 | The same tower appears round from a distance, but square close at hand [Sext.Empiricus] |
| Full Idea: The same tower appears round from a distance, but square close at hand. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.32) |
| 1881 | The same oar seems bent in water and straight when out of it [Sext.Empiricus] |
| Full Idea: The same oar seems bent when in the water but straight when out of the water. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.119) |
| 1874 | How can we judge between our impressions and those of other animals, when we ourselves are involved? [Sext.Empiricus] |
| Full Idea: We cannot judge between our own impressions and those of other animals, because we ourselves are involved in the dispute. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.59) |
| 1880 | Some actions seem shameful when sober but not when drunk [Sext.Empiricus] |
| Full Idea: Actions which seem shameful to us when sober do not seem shameful when drunk. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.109) |
| 1876 | If we enjoy different things, presumably we receive different impressions [Sext.Empiricus] |
| Full Idea: The enjoyment of different things is an indication that we get varying impressions from the underlying objects. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.80) |
| 1879 | Sickness is perfectly natural to the sick, so their natural perceptions should carry some weight [Sext.Empiricus] |
| Full Idea: Health is natural for the healthy but unnatural for the sick, and sickness is unnatural for the healthy but natural for the sick, so we must give credence to the natural perceptions of the sick. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.103) |
| 1878 | Water that seems lukewarm can seem very hot on inflamed skin [Sext.Empiricus] |
| Full Idea: The same water which seems very hot when poured on inflamed spots seems lukewarm to us. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.101) |
| 1877 | If we had no hearing or sight, we would assume no sound or sight exists, so there may be unsensed qualities [Sext.Empiricus] |
| Full Idea: A man with touch, taste and smell, but no hearing or sight, will assume nothing audible or visible exists, so maybe an apple has qualities which we have no senses to perceive. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], I.96) |
| 1910 | With us it is shameful for men to wear earrings, but among Syrians it is considered noble [Sext.Empiricus] |
| Full Idea: It is a shameful thing with us for men to wear earrings, but among some of the barbarians, such as the Syrians, it is a token of nobility. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.203) |
| 1911 | Even if all known nations agree on a practice, there may be unknown nations which disagree [Sext.Empiricus] |
| Full Idea: Even among practices on which all known cultures are agreed, disagreement about them may possibly exist amongst some of the nations which are unknown to us. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.234) |
| 1886 | If you don't view every particular, you may miss the one which disproves your universal induction [Sext.Empiricus] |
| Full Idea: Induction cannot establish the universal by means of the particular, since limited particulars may omit crucial examples which disprove the universal, and infinite particulars are impossible to know. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.204) |
| 1884 | If we utter three steps of a logical argument, they never exist together [Sext.Empiricus] |
| Full Idea: If we say "If day exists, lights exists", and then "day exists", and then "light exists", then parts of the judgement never exist together, and so the whole judgement will have no real existence. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], II.109) |
| 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. |
| 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! |
| 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. |
| 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. |
| 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? |
| 1894 | Some say that causes are physical, some say not [Sext.Empiricus] |
| Full Idea: Some affirm cause to be corporeal, some incorporeal. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.14) |
| 1897 | Knowing an effect results from a cause means knowing that the cause belongs with the effect, which is circular [Sext.Empiricus] |
| Full Idea: To know an effect belongs to a cause, we must also know that that cause belongs to that effect, and this is circular. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.21) |
| 1898 | Cause can't exist before effect, or exist at the same time, so it doesn't exist [Sext.Empiricus] |
| Full Idea: If cause neither subsists before its effect, nor subsists along with it, nor does the effect precede the cause, it would seem that it has no substantial existence at all. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.27) |
| 1896 | If there were no causes then everything would have been randomly produced by everything [Sext.Empiricus] |
| Full Idea: If causes were non-existent everything would have been produced by everything, and at random. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.18) |
| 1895 | Causes are either equal to the effect, or they link equally with other causes, or they contribute slightly [Sext.Empiricus] |
| Full Idea: The majority say causes are immediate (when they are directly proportional to effects), or associate (making an equal contribution to effects), or cooperant (making a slight contribution). | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.15) |
| 1899 | Does the original self-mover push itself from behind, or pull itself from in front? [Sext.Empiricus] |
| Full Idea: Self-movement must move in some particular direction, but if it pushes it will be behind itself, and if it pulls it will be in front of itself. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.68) | |
| A reaction: This is the same as Aquinas's First Way of proving God's existence. |
| 1900 | If time and place are infinitely divided, it becomes impossible for movement ever to begin [Sext.Empiricus] |
| Full Idea: If bodies, and the places and times when they are said to move, are divided into infinity, motion will not occur, it being impossible to find anything which will initiate the first movement. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.76) |
| 1901 | If all atoms, times and places are the same, everything should move with equal velocity [Sext.Empiricus] |
| Full Idea: If objects are reducible to atoms, and each thing passes in an atomic time with its own first atom into an atomic point of space, then all moving things are of equal velocity. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.77) |
| 1903 | If motion and rest are abolished, so is time [Sext.Empiricus] |
| Full Idea: Since time does not seem to subsist without motion or even rest, if motion is abolished, and likewise rest, time is abolished. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.141) |
| 1904 | Time must be unlimited, but past and present can't be non-existent, and can't be now, so time does not exist [Sext.Empiricus] |
| Full Idea: There can't be a time when there was no time, so time is not limited; but unlimited time means past and present are non-existent (so time is limited to the present), or they exist (which means they are present). Time does not exist. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.142) |
| 1905 | How can time be divisible if we can't compare one length of time with another? [Sext.Empiricus] |
| Full Idea: Time is clearly divisible (into past, present and future), but it can't be, because a divisible thing is measured by some part of itself (divisions of length), but the two parts must coincide to make the measurement (e.g. present must coincide with past). | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.143) |
| 1891 | How can we agree on the concept of God, unless we agree on his substance or form or place? [Sext.Empiricus] |
| Full Idea: How shall we be able to reach a conception of God when we have no agreement about his substance or his form or his place of abode? | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.3) |
| 1892 | The existence of God can't be self-evident or everyone would have agreed on it, so it needs demonstration [Sext.Empiricus] |
| Full Idea: The existence of God is not pre-evident, for if it was the dogmatists would have agreed about it, whereas their disagreements show it is non-evident, and in need of demonstration. | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.6) |
| 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? |
| 1893 | If God foresaw evil he would presumably prevent it, and if he only foresees some things, why those things? [Sext.Empiricus] |
| Full Idea: If God had forethought for all, there would be no evil in the world, yet they say the world is full of evil. And if he forethinks some things, why those and not others? | |
| From: Sextus Empiricus (Outlines of Pyrrhonism [c.180], III.9) |