19 ideas
| 1813 | All reasoning endlessly leads to further reasoning (Mode 12) [Agrippa, by Diog. Laertius] |
| Full Idea: Twelfth mode: all reasoning leads on to further reasoning, and this process goes on forever. | |
| From: report of Agrippa (fragments/reports [c.60]) by Diogenes Laertius - Lives of Eminent Philosophers 09.Py.10 |
| 1815 | Reasoning needs arbitrary faith in preliminary hypotheses (Mode 14) [Agrippa, by Diog. Laertius] |
| Full Idea: Fourteenth mode: reasoning requires arbitrary faith in preliminary hypotheses. | |
| From: report of Agrippa (fragments/reports [c.60]) by Diogenes Laertius - Lives of Eminent Philosophers 09.Py.10 |
| 1812 | All discussion is full of uncertainty and contradiction (Mode 11) [Agrippa, by Diog. Laertius] |
| Full Idea: Eleventh mode: all topics of discussion are full of uncertainty and contradiction. | |
| From: report of Agrippa (fragments/reports [c.60]) by Diogenes Laertius - Lives of Eminent Philosophers 09.Py.10 |
| 1811 | Proofs often presuppose the thing to be proved (Mode 15) [Agrippa, by Diog. Laertius] |
| Full Idea: Fifteenth mode: proofs often presuppose the thing to be proved. | |
| From: report of Agrippa (fragments/reports [c.60]) by Diogenes Laertius - Lives of Eminent Philosophers 09.Py.10 |
| 10502 | We can rise by degrees through abstraction, with higher levels representing more things [Arnauld,A/Nicole,P] |
| Full Idea: I can start with a triangle, and rise by degrees to all straight-lined figures and to extension itself. The lower degree will include the higher degree. Since the higher degree is less determinate, it can represent more things. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: [compressed] This attempts to explain the generalising ability of abstraction cited in Idea 10501. If you take a complex object and eliminate features one by one, it can only 'represent' more particulars; it could hardly represent fewer. |
| 18258 | We can only know the exterior world via our ideas [Arnauld,A/Nicole,P] |
| Full Idea: We can have knowledge of what is outside us only through the mediation of ideas in us. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], p.63), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap 1 'Conc' |
| 8850 | Agrippa's Trilemma: justification is infinite, or ends arbitrarily, or is circular [Agrippa, by Williams,M] |
| Full Idea: Agrippa's Trilemma offers three possible outcomes for a regress of justification: the chain goes on for ever (infinite); or the chain stops at an unjustified proposition (arbitrary); or the chain eventually includes the original proposition (circular). | |
| From: report of Agrippa (fragments/reports [c.60], §2) by Michael Williams - Without Immediate Justification §2 | |
| A reaction: This summarises Ideas 1911, 1913 and 1914. Agrippa's Trilemma is now a standard starting point for modern discussions of foundations. Personally I reject 2, and am torn between 1 (+ social consensus) and 3 (with a benign, coherent circle). |
| 1814 | Everything is perceived in relation to another thing (Mode 13) [Agrippa, by Diog. Laertius] |
| Full Idea: Thirteenth mode: everything is always perceived in relation to something else. | |
| From: report of Agrippa (fragments/reports [c.60]) by Diogenes Laertius - Lives of Eminent Philosophers 09.Py.10 |
| 16784 | Forms make things distinct and explain the properties, by pure form, or arrangement of parts [Arnauld,A/Nicole,P] |
| Full Idea: The form is what renders a thing such and distinguishes it from others, whether it is a being really distinct from the matter, according to the Schools, or whether it is only the arrangement of the parts. By this form one must explain its properties. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], III.18 p240), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 27.6 | |
| A reaction: If we ask 'what explains the properties of this thing' it is hard to avoid coming up with something that might be called the 'form'. Note that they allow either substantial or corpuscularian forms. It is hard to disagree with the idea. |
| 10499 | We know by abstraction because we only understand composite things a part at a time [Arnauld,A/Nicole,P] |
| Full Idea: The mind cannot perfectly understand things that are even slightly composite unless it considers them a part at a time. ...This is generally called knowing by abstraction. (..the human body, for example). | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: This adds the interesting thought that the mind is forced to abstract, rather than abstraction being a luxury extra feature. Knowledge through analysis is knowledge by abstraction. Also a nice linking of abstraction to epistemology. |
| 10501 | A triangle diagram is about all triangles, if some features are ignored [Arnauld,A/Nicole,P] |
| Full Idea: If I draw an equilateral triangle on a piece of paper, ..I shall have an idea of only a single triangle. But if I ignore all the particular circumstances and focus on the three equal lines, I will be able to represent all equilateral triangles. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: [compressed] They observed that we grasp composites through their parts, and now that we can grasp generalisations through particulars, both achieved by the psychological act of abstraction, thus showing its epistemological power. |
| 10500 | No one denies that a line has width, but we can just attend to its length [Arnauld,A/Nicole,P] |
| Full Idea: Geometers by no means assume that there are lines without width or surfaces without depth. They only think it is possible to consider the length without paying attention to the width. We can measure the length of a path without its width. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: A nice example which makes the point indubitable. The modern 'rigorous' account of abstraction that starts with Frege seems to require more than one object, in order to derive abstractions like direction or number. Path widths are not comparatives. |
| 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). |
| 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. |
| 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. |
| 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!). |
| 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. |
| 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. |