17 ideas
| 13007 | Archimedes defined a straight line as the shortest distance between two points [Archimedes, by Leibniz] |
| Full Idea: Archimedes gave a sort of definition of 'straight line' when he said it is the shortest line between two points. | |
| From: report of Archimedes (fragments/reports [c.240 BCE]) by Gottfried Leibniz - New Essays on Human Understanding 4.13 | |
| A reaction: Commentators observe that this reduces the purity of the original Euclidean axioms, because it involves distance and measurement, which are absent from the purest geometry. |
| 11993 | Jones may cease to exist without some simple property, but that doesn't make it essential [Kung] |
| Full Idea: If Jones ceases to be a father, or ceases to be over eight years old, he will cease to exist, yet these properties surely do not belong essentially to him. | |
| From: Joan Kung (Aristotle on Essence and Explanation [1977], II) | |
| A reaction: This seems to correct, though I would doubt whether either of these count as true properties, in the causal sense I prefer. If being 'over 8' is a property, how many 'over n' or 'under m' properties does he have? One for each quantum moment? |
| 11997 | A property may belong essentially to one thing and contingently to another [Kung] |
| Full Idea: It is possible that a property may belong essentially to one thing and contingently to another. | |
| From: Joan Kung (Aristotle on Essence and Explanation [1977], III) | |
| A reaction: Thus a love of blues music may be part of your essence, but only a minor part of me. Sounds right. Spin or charge are part of the essence of an electron, but only contingently part of a child's top. |
| 11992 | Aristotelian essences underlie a thing's existence, explain it, and must belong to it [Kung] |
| Full Idea: Three essentialist claims are labelled 'Aristotelian': the thing would cease to exist without the property; an essential property is explanatory; and it is such that it must belong to everything to which it belongs. | |
| From: Joan Kung (Aristotle on Essence and Explanation [1977], Intro) | |
| A reaction: She says the second one is indispensable, and that it rules out the third one. My working assumption, like hers, is that the second one is the key part of the game, because Aristotle wanted to explain things. |
| 11995 | Some peripheral properties are explained by essential ones, but don't themselves explain properties [Kung] |
| Full Idea: There will be demonstrated properties at the edge of the system, so to speak. They will be explained in terms of the essential properties of the basic entities and principles of the science, but will themselves not be explanatory of further properties. | |
| From: Joan Kung (Aristotle on Essence and Explanation [1977], II) | |
| A reaction: This is an important line of thought which needs clarification. We can't glibly say that essences are what explain the other properties. Some properties do more than others to explain subsequent dependent properties. |
| 11996 | Some non-essential properties may explain more than essential-but-peripheral ones do [Kung] |
| Full Idea: It seems highly likely that some non-essential properties may explain more about the individual or about things of his kind than the peripheral properties. | |
| From: Joan Kung (Aristotle on Essence and Explanation [1977], II) | |
| A reaction: Another important issue, if one is defending the explanatory role of essences. It is not only essences which explain. A key question is whether we endorse individual essences as well as generic ones. I think we should. They explain the details. |
| 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. |
| 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. |