19 ideas
| 5163 | Basic propositions refer to a single experience, are incorrigible, and conclusively verifiable [Ayer] |
| Full Idea: There is a class of empirical propositions, which I call 'basic propositions', which can be verified conclusively, since they refer solely to the contents of a single experience, which are incorrigible. | |
| From: A.J. Ayer (Introduction to 'Language Truth and Logic' [1946], p.13) | |
| A reaction: A classic statement of empirical foundationalism. I sort of agree that 'single experiences' are a 'given' for philosophy, but is questionable whether there is anything which could both be a single experience AND give rise to a proposition. |
| 5167 | The argument from analogy fails, so the best account of other minds is behaviouristic [Ayer] |
| Full Idea: There are too many objections to the argument from analogy, so I am inclined to revert to a 'behaviouristic' interpretation of propositions about other people's experiences. | |
| From: A.J. Ayer (Introduction to 'Language Truth and Logic' [1946], p.26) | |
| A reaction: It seems odd to vote for behaviourism on one issue, if you aren't a general subscriber. It is one thing to say that behaviour is the best evidence for your explanation, quite another to equate the other mind with its behaviour. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 5164 | A statement is meaningful if observation statements can be deduced from it [Ayer] |
| Full Idea: In the improved version, a statement was verifiable, and consequently meaningful, if 'some observation-statement can be deduced from it in conjunction with certain other premises, without being deducible from those other premises alone'. | |
| From: A.J. Ayer (Introduction to 'Language Truth and Logic' [1946], p.15) | |
| A reaction: I.Berlin showed that any statement S could pass this test, because if you assert 'S' and 'If S then O', these two statements entail O, which could be some random observation. Hence a 1946 revised version had to be produced. |
| 5165 | Directly verifiable statements must entail at least one new observation statement [Ayer] |
| Full Idea: A statement is directly verifiable if it is either itself an observation-statement,or is such that in conjunction with one or more observation-statements it entails at least one observation-statement which is not deducible from these other premises alone. | |
| From: A.J. Ayer (Introduction to 'Language Truth and Logic' [1946], p.17) | |
| A reaction: This is the 1946 revised version of the Verification Principle, which was then torpedoed by an elaborate counterexample from Alonzo Church. Ayer thereafter abandoned attempts to find a precise statement of it. |
| 5166 | The principle of verification is not an empirical hypothesis, but a definition [Ayer] |
| Full Idea: I wish the principle of verification to be regarded, not as an empirical hypothesis, but as a definition. | |
| From: A.J. Ayer (Introduction to 'Language Truth and Logic' [1946], p.21) | |
| A reaction: This is Ayer's attempt to meet the well known objection of 'turning the tables' on his theory (by asking whether it is tautological or empirically verifiable). However, if it is just a definition, then presumably it is completely arbitrary… |
| 5162 | Sentences only express propositions if they are meaningful; otherwise they are 'statements' [Ayer] |
| Full Idea: I suggest that every grammatically significant indicative sentence expresses a 'statement', but the word 'proposition' will be reserved for what is expressed by sentences that are literally meaningful. | |
| From: A.J. Ayer (Introduction to 'Language Truth and Logic' [1946], p.10) | |
| A reaction: We don't have to accept Ayer's over-fussy requirements for what is meaningful to accept that this is a good distinction. Every day we hear statements from people (e.g. politicians) in which we can fish in vain for the underlying proposition. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 5168 | Moral approval and disapproval concerns classes of actions, rather than particular actions [Ayer] |
| Full Idea: The common objects of moral approval and disapproval are not particular actions so much as classes of actions. | |
| From: A.J. Ayer (Introduction to 'Language Truth and Logic' [1946], p.27) | |
| A reaction: This 1946 revision of his pure emotivism looks like a move towards Hare's prescriptivism, where classes, rules and principles are seen as the window-dressing of emotivism. It's still a bad theory. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |