77 ideas
| 11147 | Naturalistic philosophers oppose analysis, preferring explanation to a priori intuition [Margolis/Laurence] |
| Full Idea: Philosophers who oppose conceptual analysis identify their approach as being 'naturalistic'. Philosophy is supposed to be continuous with science, and philosophical theories are to be defended on explanatory grounds, not by a priori intuitions. | |
| From: E Margolis/S Laurence (Concepts [2009], 5.2) | |
| A reaction: [They cite Papineau 1993, Devitt 1996 aand Kornblith 2002] I think there is a happy compromise here. I agree that any philosophical knowledge should be continuous with science, but we shouldn't prejudge how the analytic branch of science is done. |
| 224 | When questions are doubtful we should concentrate not on objects but on ideas of the intellect [Plato] |
| Full Idea: Doubtful questions should not be discussed in terms of visible objects or in relation to them, but only with reference to ideas conceived by the intellect. | |
| From: Plato (Parmenides [c.364 BCE], 135e) |
| 232 | Opposites are as unlike as possible [Plato] |
| Full Idea: Opposites are as unlike as possible. | |
| From: Plato (Parmenides [c.364 BCE], 159a) |
| 8937 | Plato's 'Parmenides' is the greatest artistic achievement of the ancient dialectic [Hegel on Plato] |
| Full Idea: Plato's 'Parmenides' is the greatest artistic achievement of the ancient dialectic. | |
| From: comment on Plato (Parmenides [c.364 BCE]) by Georg W.F.Hegel - Phenomenology of Spirit Pref 71 | |
| A reaction: It is a long way from the analytic tradition of philosophy to be singling out a classic text for its 'artistic' achievement. Eventually we may even look back on, say, Kripke's 'Naming and Necessity' and see it in that light. |
| 13986 | Plato found antinomies in ideas, Kant in space and time, and Bradley in relations [Plato, by Ryle] |
| Full Idea: Plato (in 'Parmenides') shows that the theory that 'Eide' are substances, and Kant that space and time are substances, and Bradley that relations are substances, all lead to aninomies. | |
| From: report of Plato (Parmenides [c.364 BCE]) by Gilbert Ryle - Are there propositions? 'Objections' |
| 14150 | Plato's 'Parmenides' is perhaps the best collection of antinomies ever made [Russell on Plato] |
| Full Idea: Plato's 'Parmenides' is perhaps the best collection of antinomies ever made. | |
| From: comment on Plato (Parmenides [c.364 BCE]) by Bertrand Russell - The Principles of Mathematics §337 |
| 16150 | One is, so numbers exist, so endless numbers exist, and each one must partake of being [Plato] |
| Full Idea: If one is, there must also necessarily be number - Necessarily - But if there is number, there would be many, and an unlimited multitude of beings. ..So if all partakes of being, each part of number would also partake of it. | |
| From: Plato (Parmenides [c.364 BCE], 144a) | |
| A reaction: This seems to commit to numbers having being, then to too many numbers, and hence to too much being - but without backing down and wondering whether numbers had being after all. Aristotle disagreed. |
| 229 | The one was and is and will be and was becoming and is becoming and will become [Plato] |
| Full Idea: The one was and is and will be and was becoming and is becoming and will become. | |
| From: Plato (Parmenides [c.364 BCE], 155d) |
| 21821 | Plato's Parmenides has a three-part theory, of Primal One, a One-Many, and a One-and-Many [Plato, by Plotinus] |
| Full Idea: The Platonic Parmenides is more exact [than Parmenides himself]; the distinction is made between the Primal One, a strictly pure Unity, and a secondary One which is a One-Many, and a third which is a One-and-Many. | |
| From: report of Plato (Parmenides [c.364 BCE]) by Plotinus - The Enneads 5.1.08 | |
| A reaction: Plotinus approves of this three-part theory. Parmenides has the problem that the highest Being contains no movement. By placing the One outside Being you can give it powers which an existent thing cannot have. Cf the concept of God. |
| 221 | Absolute ideas, such as the Good and the Beautiful, cannot be known by us [Plato] |
| Full Idea: The absolute good and the beautiful and all which we conceive to be absolute ideas are unknown to us. | |
| From: Plato (Parmenides [c.364 BCE], 134c) |
| 223 | If you deny that each thing always stays the same, you destroy the possibility of discussion [Plato] |
| Full Idea: If a person denies that the idea of each thing is always the same, he will utterly destroy the power of carrying on discussion. | |
| From: Plato (Parmenides [c.364 BCE], 135c) |
| 227 | You must always mean the same thing when you utter the same name [Plato] |
| Full Idea: You must always mean the same thing when you utter the same name. | |
| From: Plato (Parmenides [c.364 BCE], 147d) |
| 210 | It would be absurd to think there were abstract Forms for vile things like hair, mud and dirt [Plato] |
| Full Idea: Are there abstract ideas for such things as hair, mud and dirt, which are particularly vile and worthless? That would be quite absurd. | |
| From: Plato (Parmenides [c.364 BCE], 130d) |
| 220 | The concept of a master includes the concept of a slave [Plato] |
| Full Idea: Mastership in the abstract is mastership of slavery in the abstract. | |
| From: Plato (Parmenides [c.364 BCE], 133e) |
| 211 | If admirable things have Forms, maybe everything else does as well [Plato] |
| Full Idea: It is troubling that if admirable things have abstract ideas, then perhaps everything else must have ideas as well. | |
| From: Plato (Parmenides [c.364 BCE], 130d) |
| 219 | If absolute ideas existed in us, they would cease to be absolute [Plato] |
| Full Idea: None of the absolute ideas exists in us, because then it would no longer be absolute. | |
| From: Plato (Parmenides [c.364 BCE], 133c) |
| 228 | Greatness and smallness must exist, to be opposed to one another, and come into being in things [Plato] |
| Full Idea: These two ideas, greatness and smallness, exist, do they not? For if they did not exist, they could not be opposites of one another, and could not come into being in things. | |
| From: Plato (Parmenides [c.364 BCE], 149e) |
| 16151 | Plato moves from Forms to a theory of genera and principles in his later work [Plato, by Frede,M] |
| Full Idea: It seems to me that Plato in the later dialogues, beginning with the second half of 'Parmenides', wants to substitute a theory of genera and theory of principles that constitute these genera for the earlier theory of forms. | |
| From: report of Plato (Parmenides [c.364 BCE]) by Michael Frede - Title, Unity, Authenticity of the 'Categories' V | |
| A reaction: My theory is that the later Plato came under the influence of the brilliant young Aristotle, and this idea is a symptom of it. The theory of 'principles' sounds like hylomorphism to me. |
| 218 | Participation is not by means of similarity, so we are looking for some other method of participation [Plato] |
| Full Idea: Participation is not by means of likeness, so we must seek some other method of participation. | |
| From: Plato (Parmenides [c.364 BCE], 133a) |
| 213 | Each idea is in all its participants at once, just as daytime is a unity but in many separate places at once [Plato] |
| Full Idea: Just as day is in many places at once, but not separated from itself, so each idea might be in all its participants at once. | |
| From: Plato (Parmenides [c.364 BCE], 131b) |
| 216 | If things are made alike by participating in something, that thing will be the absolute idea [Plato] |
| Full Idea: That by participation in which like things are made like, will be the absolute idea, will it not? | |
| From: Plato (Parmenides [c.364 BCE], 132e) |
| 215 | If things partake of ideas, this implies either that everything thinks, or that everything actually is thought [Plato] |
| Full Idea: If all things partake of ideas, must either everything be made of thoughts and everything thinks, or everything is thought, and so can't think? | |
| From: Plato (Parmenides [c.364 BCE], 132c) |
| 212 | The whole idea of each Form must be found in each thing which participates in it [Plato] |
| Full Idea: The whole idea of each form (of beauty, justice etc) must be found in each thing which participates in it. | |
| From: Plato (Parmenides [c.364 BCE], 131a) |
| 217 | Nothing can be like an absolute idea, because a third idea intervenes to make them alike (leading to a regress) [Plato] |
| Full Idea: It is impossible for anything to be like an absolute idea, because a third idea will appear to make them alike, and if that is like anything, it will lead to another idea, and so on. | |
| From: Plato (Parmenides [c.364 BCE], 133a) |
| 214 | If absolute greatness and great things are seen as the same, another thing appears which makes them seem great [Plato] |
| Full Idea: If you regard the absolute great and the many great things in the same way, will not another appear beyond, by which all these must appear to be great? | |
| From: Plato (Parmenides [c.364 BCE], 132a) |
| 15851 | Parts must belong to a created thing with a distinct form [Plato] |
| Full Idea: The part would not be the part of many things or all, but of some one character ['ideas'] and of some one thing, which we call a 'whole', since it has come to be one complete [perfected] thing composed [created] of all. | |
| From: Plato (Parmenides [c.364 BCE], 157d) | |
| A reaction: A serious shot by Plato at what identity is. Harte quotes it (125) and shows that 'character' is Gk 'idea', and 'composed' will translate as 'created'. 'Form' links this Platonic passage to Aristotle's hylomorphism. |
| 15846 | In Parmenides, if composition is identity, a whole is nothing more than its parts [Plato, by Harte,V] |
| Full Idea: At the heart of the 'Parmenides' puzzles about composition is the thesis that composition is identity. Considered thus, a whole adds nothing to an ontology that already includes its parts | |
| From: report of Plato (Parmenides [c.364 BCE]) by Verity Harte - Plato on Parts and Wholes 2.5 | |
| A reaction: There has to be more to a unified identity that mere proximity of the parts. When do parts come together, and when do they actually 'compose' something? |
| 15849 | Plato says only a one has parts, and a many does not [Plato, by Harte,V] |
| Full Idea: In 'Parmenides' it is argued that a part cannot be part of a many, but must be part of something one. | |
| From: report of Plato (Parmenides [c.364 BCE], 157c) by Verity Harte - Plato on Parts and Wholes 3.2 | |
| A reaction: This looks like the right way to go with the term 'part'. We presuppose a unity before we even talk of its parts, so we can't get into contradictions and paradoxes about their relationships. |
| 15850 | Anything which has parts must be one thing, and parts are of a one, not of a many [Plato] |
| Full Idea: The whole of which the parts are parts must be one thing composed of many; for each of the parts must be part, not of a many, but of a whole. | |
| From: Plato (Parmenides [c.364 BCE], 157c) | |
| A reaction: This is a key move of metaphysics, and we should hang on to it. The other way madness lies. |
| 13259 | It seems that the One must be composed of parts, which contradicts its being one [Plato] |
| Full Idea: The One must be composed of parts, both being a whole and having parts. So on both grounds the One would thus be many and not one. But it must be not many, but one. So if the One will be one, it will neither be a whole, nor have parts. | |
| From: Plato (Parmenides [c.364 BCE], 137c09), quoted by Kathrin Koslicki - The Structure of Objects 5.2 | |
| A reaction: This is the starting point for Plato's metaphysical discussion of objects. It seems to begin a line of thought which is completed by Aristotle, surmising that only an essential structure can bestow identity on a bunch of parts. |
| 15847 | Two things relate either as same or different, or part of a whole, or the whole of the part [Plato] |
| Full Idea: Everything is surely related to everything as follows: either it is the same or different; or, if it is not the same or different, it would be related as part to whole or as whole to part. | |
| From: Plato (Parmenides [c.364 BCE], 146b) | |
| A reaction: This strikes me as a really helpful first step in trying to analyse the nature of identity. Two things are either two or (actually) one, or related mereologically. |
| 11141 | Modern empiricism tends to emphasise psychological connections, not semantic relations [Margolis/Laurence] |
| Full Idea: A growing number of philosophers are attracted to modified forms of empiricism, emphasizing psychological relations between the conceptual system and perceptual and motor states, not semantic relations. | |
| From: E Margolis/S Laurence (Concepts [2009], 3.2) | |
| A reaction: I suddenly spot that this is what I have been drifting towards for some time! The focus is concept formation, where the philosophers need to join forces with the cognitive scientists. |
| 11142 | Body-type seems to affect a mind's cognition and conceptual scheme [Margolis/Laurence] |
| Full Idea: It is claimed, on the basis of empirical research, that the type of body that an organism has profoundly affects it cognitive operations and the way it conceptualises the world. We can't assume that human minds could inhere in wildly different body types. | |
| From: E Margolis/S Laurence (Concepts [2009], 3.2) | |
| A reaction: Sounds interesting. They cite Lawrence Shapiro 2004. It needs a large effort of imagination to think how a snake or whale or albatross might conceptualise the world, in relation to their bodies. |
| 11121 | Language of thought has subject/predicate form and includes logical devices [Margolis/Laurence] |
| Full Idea: The language of thought is taken to have subject/predicate form and include logical devices, such as quantifiers and variables. | |
| From: E Margolis/S Laurence (Concepts [2009], 1.1) |
| 11120 | Concepts are either representations, or abilities, or Fregean senses [Margolis/Laurence] |
| Full Idea: The three main options for the ontological status of concepts are to identify them with mental representations, or with abilities, or with Fregean senses. | |
| From: E Margolis/S Laurence (Concepts [2009], 1) |
| 11122 | A computer may have propositional attitudes without representations [Margolis/Laurence] |
| Full Idea: It may be possible to have propositional attitudes without having the mental representations tokened in one's head. ...We may say a chess-playing computer thinks it should develop its queen early, though we know it has no representation with that content. | |
| From: E Margolis/S Laurence (Concepts [2009], 1.1) | |
| A reaction: [Thye cite Dennett - who talks of the 'intentional stance'] It is, of course, a moot point whether we would attribute a propositional attitude (such as belief) to a machine once we knew that it wasn't representing the relevant concepts. |
| 11124 | Do mental representations just lead to a vicious regress of explanations [Margolis/Laurence] |
| Full Idea: A standard criticism is that the mental representation view of concepts creates just another item whose significance bears explaining. Either we have a vicious regress, or we might as well explain external language directly. | |
| From: E Margolis/S Laurence (Concepts [2009], 1.2) | |
| A reaction: [They cite Dummett, with Wittgenstein in the background] I don't agree, because I think that explanation of concepts only stops when it dovetails into biology. |
| 11123 | Maybe the concept CAT is just the ability to discriminate and infer about cats [Margolis/Laurence] |
| Full Idea: The view that concepts are abilities (e.g. found in Brandom, Dummett and Millikan) would say that the concept CAT amounts to the ability to discriminate cats from non-cats and to draw certain inferences about cats. | |
| From: E Margolis/S Laurence (Concepts [2009], 1.2) | |
| A reaction: Feels wrong. The concept is what makes these abilities possible, but it seems rather behaviourist to identify the concept with what is enabled by the concept. You might understand 'cat', but fail to recognise your first cat (though you might suspect it). |
| 11125 | The abilities view cannot explain the productivity of thought, or mental processes [Margolis/Laurence] |
| Full Idea: The abilities view of concepts, by its rejection of mental representation, is ill-equipped to explain the productivity of thought; and it can say little about mental processes. | |
| From: E Margolis/S Laurence (Concepts [2009], 1.2) | |
| A reaction: The latter point arises from its behaviouristic character, which just gives us a black box with some output of abilities. In avoiding a possible regress, it offers no explanation at all. |
| 11140 | Concept-structure explains typicality, categories, development, reference and composition [Margolis/Laurence] |
| Full Idea: The structures of concepts are invoked to explain typicality effects, reflective categorization, cognitive development, reference determination, and compositionality. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.5) |
| 11128 | Classically, concepts give necessary and sufficient conditions for falling under them [Margolis/Laurence] |
| Full Idea: The classical theory is that a concept has a definitional structure in that it is composed of simpler concepts that express necessary and sufficient conditions for falling under the concept, the stock example being unmarried and a man for 'bachelor'. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.1) | |
| A reaction: This is the background idea to philosophy as analysis, and it makes concepts essentially referential, in that they are defined by their ability to pick things out. There must be some degree of truth in the theory. |
| 11130 | Typicality challenges the classical view; we see better fruit-prototypes in apples than in plums [Margolis/Laurence] |
| Full Idea: The classical view is challenged by the discovery that certain categories are taken to be more typical, with typicality widely correlating with other data. Apples are judged to be more typical of (and have more common features with) fruit than plums are. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.1) | |
| A reaction: This discovery that people use prototypes in thinking has been the biggest idea to ever hit the philosophy of concepts, and simply cannot be ignored (as long as the research keeps reinforcing it, which I believe it does). The classical view might adapt. |
| 11129 | The classical theory explains acquisition, categorization and reference [Margolis/Laurence] |
| Full Idea: The appeal of the classical theory of concepts is that it offers unified treatments of concept acquisition (assembling constituents), categorization (check constituents against target), and reference determination (whether they apply). | |
| From: E Margolis/S Laurence (Concepts [2009], 2.1) | |
| A reaction: [See Idea 11128 for the theory] As so often, I find myself in sympathy with the traditional view which has been relegated to ignominy by our wonderful modern philosophers. |
| 11131 | It may be that our concepts (such as 'knowledge') have no definitional structure [Margolis/Laurence] |
| Full Idea: In the light of problems such as the definition of knowledge, many philosophers now take seriously the possibility that our concepts lack definitional structure. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.1) | |
| A reaction: This challenges the classical view, that there are precise conditions for each concept. That view would obviously be in difficulties with atomic concepts, so our account of those might be applied all the way up. |
| 11132 | The prototype theory is probabilistic, picking something out if it has sufficient of the properties [Margolis/Laurence] |
| Full Idea: In the prototype theory of concepts, a lexical concept has probabilistic structure in that something falls under it if it satisfies a sufficient number of properties encoded by the constituents. It originates in Wittgenstein's 'family resemblance'. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.2) | |
| A reaction: It would seem unlikely to be a matter of the 'number' of properties, and would have to involve some notion of what was essential to the prototype. |
| 11133 | Prototype theory categorises by computing the number of shared constituents [Margolis/Laurence] |
| Full Idea: On the prototype theory, categorization is to be understood as a similarity comparison process, where similarity is computed as a function of the number of constituents that two concepts hold in common. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.2) | |
| A reaction: Again it strikes me that 'computing' similarity by mere 'number' of shared constituents won't do, as there is a prior judgement about which constituents really matter, or are essential. That may even be hard-wired. |
| 11134 | People don't just categorise by apparent similarities [Margolis/Laurence] |
| Full Idea: When it comes to more reflexive judgements, people go beyond the outcome of a similarity comparison. Even children say that a dog surgically altered to look like a raccoon is still a dog. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.2) | |
| A reaction: We can defend the theory by not underestimating people so much. Most categorisation is done on superficial grounds, but even children know there may be hidden similarities (behind the mask, under the bonnet) which are more important. |
| 11135 | Complex concepts have emergent properties not in the ingredient prototypes [Margolis/Laurence] |
| Full Idea: An objection to the prototype view concerns compositionality. A complex concept often has emergent properties, as when it seems that 'pet fish' encodes for brightly coloured, which has no basis in the prototypes for 'pet' or 'fish'. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.2) | |
| A reaction: I would take 'pet fish' to work like a database query. 'Fish' has a very vague prototype, and then 'pet fish' narrows the search to fish which are appropriate to be pets. We might say that the prototype is refined, or the Mk 2 prototype appears. |
| 11136 | Many complex concepts obviously have no prototype [Margolis/Laurence] |
| Full Idea: Many patently complex concepts don't even have a prototype structure, such as 'Chairs that were purchased on a Wednesday'. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.2) | |
| A reaction: [The example seems to be from Fodor] I disagree. If we accept the notion of 'refining' the prototype (see Idea 11135), then the compositionality of the expression will produce a genuine but very unusual prototype. |
| 11137 | The theory theory of concepts says they are parts of theories, defined by their roles [Margolis/Laurence] |
| Full Idea: The theory theory of concepts says that terms are related as in a scientific theory, and that categorization resembles theorising. It is generally assumed that scientific terms are interdefined so that content is determined by its role in the theory. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.3) | |
| A reaction: I never like this sort of account. What are the characteristics of the thing which enable it to fulfil its role? You haven't defined a car when you've said it gets you from A to B. |
| 11138 | The theory theory is holistic, so how can people have identical concepts? [Margolis/Laurence] |
| Full Idea: A problem with the theory theory of concepts is that it is holistic, saying a concept is determined by its role, not by its constituents. It then seems difficult for different people to possess the same concepts (or even the same person, over time). | |
| From: E Margolis/S Laurence (Concepts [2009], 2.3) | |
| A reaction: This seems a good objection to any holistic account of concepts or meaning - spotted by Plato in motivating his theory of Forms, to give the necessary stability to communication. |
| 11139 | Maybe concepts have no structure, and determined by relations to the world, not to other concepts [Margolis/Laurence] |
| Full Idea: According to conceptual atomism, lexical concepts have no semantic structure, and the content of a concept isn't determined by its relation to other concepts but by its relations to the world. | |
| From: E Margolis/S Laurence (Concepts [2009], 2.4) | |
| A reaction: [They cite Fodor 1998 and Millikan 2000] I like the sound of that, because I take the creation of concepts to be (in the first instance) a response to the world, not a response to other concepts. |
| 11146 | People can formulate new concepts which are only named later [Margolis/Laurence] |
| Full Idea: People seem to be able to formulate novel concepts which are left to be named later; the concept comes first, the name second. | |
| From: E Margolis/S Laurence (Concepts [2009], 4.2) | |
| A reaction: [This seems to have empirical support, and he cites Pinker 1994] I do not find this remotely surprising, since I presume that human concepts are a continuous kind with animal concepts, including non-conscious concepts (why not?). |
| 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. |
| 222 | Only a great person can understand the essence of things, and an even greater person can teach it [Plato] |
| Full Idea: Only a man of very great natural gifts will be able to understand that everything has a class and absolute essence, and an even more wonderful man can teach this. | |
| From: Plato (Parmenides [c.364 BCE], 135a) |
| 225 | The unlimited has no shape and is endless [Plato] |
| Full Idea: The unlimited partakes neither of the round nor of the straight, because it has no ends nor edges. | |
| From: Plato (Parmenides [c.364 BCE], 137e) |
| 233 | Some things do not partake of the One [Plato] |
| Full Idea: The others cannot partake of the one in any way; they can neither partake of it nor of the whole. | |
| From: Plato (Parmenides [c.364 BCE], 159d) | |
| A reaction: Compare Idea 231 |
| 2062 | The only movement possible for the One is in space or in alteration [Plato] |
| Full Idea: If the One moves it either moves spatially or it is altered, since these are the only motions. | |
| From: Plato (Parmenides [c.364 BCE], 138b) |
| 231 | Everything partakes of the One in some way [Plato] |
| Full Idea: The others are not altogether deprived of the one, for they partake of it in some way. | |
| From: Plato (Parmenides [c.364 BCE], 157c) | |
| A reaction: Compare Idea 233. |
| 234 | We couldn't discuss the non-existence of the One without knowledge of it [Plato] |
| Full Idea: There must be knowledge of the one, or else not even the meaning of the words 'if the one does not exist' would be known. | |
| From: Plato (Parmenides [c.364 BCE], 160d) |
| 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? |