77 ideas
| 11147 | Naturalistic philosophers oppose analysis, preferring explanation to a priori intuition [Margolis/Laurence] |
| 224 | When questions are doubtful we should concentrate not on objects but on ideas of the intellect [Plato] |
| 232 | Opposites are as unlike as possible [Plato] |
| 8937 | Plato's 'Parmenides' is the greatest artistic achievement of the ancient dialectic [Hegel on Plato] |
| 13986 | Plato found antinomies in ideas, Kant in space and time, and Bradley in relations [Plato, by Ryle] |
| 14150 | Plato's 'Parmenides' is perhaps the best collection of antinomies ever made [Russell on Plato] |
| 16150 | One is, so numbers exist, so endless numbers exist, and each one must partake of being [Plato] |
| 229 | The one was and is and will be and was becoming and is becoming and will become [Plato] |
| 21821 | Plato's Parmenides has a three-part theory, of Primal One, a One-Many, and a One-and-Many [Plato, by Plotinus] |
| 221 | Absolute ideas, such as the Good and the Beautiful, cannot be known by us [Plato] |
| 223 | If you deny that each thing always stays the same, you destroy the possibility of discussion [Plato] |
| 227 | You must always mean the same thing when you utter the same name [Plato] |
| 228 | Greatness and smallness must exist, to be opposed to one another, and come into being in things [Plato] |
| 211 | If admirable things have Forms, maybe everything else does as well [Plato] |
| 219 | If absolute ideas existed in us, they would cease to be absolute [Plato] |
| 16151 | Plato moves from Forms to a theory of genera and principles in his later work [Plato, by Frede,M] |
| 210 | It would be absurd to think there were abstract Forms for vile things like hair, mud and dirt [Plato] |
| 220 | The concept of a master includes the concept of a slave [Plato] |
| 212 | The whole idea of each Form must be found in each thing which participates in it [Plato] |
| 216 | If things are made alike by participating in something, that thing will be the absolute idea [Plato] |
| 213 | Each idea is in all its participants at once, just as daytime is a unity but in many separate places at once [Plato] |
| 215 | If things partake of ideas, this implies either that everything thinks, or that everything actually is thought [Plato] |
| 218 | Participation is not by means of similarity, so we are looking for some other method of participation [Plato] |
| 214 | If absolute greatness and great things are seen as the same, another thing appears which makes them seem great [Plato] |
| 217 | Nothing can be like an absolute idea, because a third idea intervenes to make them alike (leading to a regress) [Plato] |
| 15851 | Parts must belong to a created thing with a distinct form [Plato] |
| 15846 | In Parmenides, if composition is identity, a whole is nothing more than its parts [Plato, by Harte,V] |
| 15849 | Plato says only a one has parts, and a many does not [Plato, by Harte,V] |
| 15850 | Anything which has parts must be one thing, and parts are of a one, not of a many [Plato] |
| 13259 | It seems that the One must be composed of parts, which contradicts its being one [Plato] |
| 15847 | Two things relate either as same or different, or part of a whole, or the whole of the part [Plato] |
| 11141 | Modern empiricism tends to emphasise psychological connections, not semantic relations [Margolis/Laurence] |
| 11142 | Body-type seems to affect a mind's cognition and conceptual scheme [Margolis/Laurence] |
| 11121 | Language of thought has subject/predicate form and includes logical devices [Margolis/Laurence] |
| 11120 | Concepts are either representations, or abilities, or Fregean senses [Margolis/Laurence] |
| 11122 | A computer may have propositional attitudes without representations [Margolis/Laurence] |
| 11124 | Do mental representations just lead to a vicious regress of explanations [Margolis/Laurence] |
| 11123 | Maybe the concept CAT is just the ability to discriminate and infer about cats [Margolis/Laurence] |
| 11125 | The abilities view cannot explain the productivity of thought, or mental processes [Margolis/Laurence] |
| 11140 | Concept-structure explains typicality, categories, development, reference and composition [Margolis/Laurence] |
| 11128 | Classically, concepts give necessary and sufficient conditions for falling under them [Margolis/Laurence] |
| 11129 | The classical theory explains acquisition, categorization and reference [Margolis/Laurence] |
| 11130 | Typicality challenges the classical view; we see better fruit-prototypes in apples than in plums [Margolis/Laurence] |
| 11131 | It may be that our concepts (such as 'knowledge') have no definitional structure [Margolis/Laurence] |
| 11134 | People don't just categorise by apparent similarities [Margolis/Laurence] |
| 11136 | Many complex concepts obviously have no prototype [Margolis/Laurence] |
| 11133 | Prototype theory categorises by computing the number of shared constituents [Margolis/Laurence] |
| 11135 | Complex concepts have emergent properties not in the ingredient prototypes [Margolis/Laurence] |
| 11132 | The prototype theory is probabilistic, picking something out if it has sufficient of the properties [Margolis/Laurence] |
| 11137 | The theory theory of concepts says they are parts of theories, defined by their roles [Margolis/Laurence] |
| 11138 | The theory theory is holistic, so how can people have identical concepts? [Margolis/Laurence] |
| 11139 | Maybe concepts have no structure, and determined by relations to the world, not to other concepts [Margolis/Laurence] |
| 11146 | People can formulate new concepts which are only named later [Margolis/Laurence] |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| 222 | Only a great person can understand the essence of things, and an even greater person can teach it [Plato] |
| 225 | The unlimited has no shape and is endless [Plato] |
| 231 | Everything partakes of the One in some way [Plato] |
| 2062 | The only movement possible for the One is in space or in alteration [Plato] |
| 233 | Some things do not partake of the One [Plato] |
| 234 | We couldn't discuss the non-existence of the One without knowledge of it [Plato] |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |