33 ideas
| 20457 | Zeno assumes collecting an infinity of things makes an infinite thing [Rovelli] |
| Full Idea: One possible answer is that Zeno is wrong because it is not true that by accumulating an infinite number of things one ends up with an infinite thing. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 01) | |
| A reaction: I do love it when deep and complex ideas are expressed with perfect simplicity. As long as the simple version is correct. |
| 20468 | Quantum mechanics deals with processes, rather than with things [Rovelli] |
| Full Idea: Quantum mechanics teaches us not to think about the world in terms of 'things' which are in this or that state, but in terms of 'processes' instead. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) |
| 20467 | Quantum mechanics describes the world entirely as events [Rovelli] |
| Full Idea: The world of quantum mechanics is not a world of objects: it is a world of events. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) | |
| A reaction: I presume a philosopher is allowed to ask what an 'event' is. Since, as Rovelli tells it, time is eliminated from the picture, events seem to be unanalysable primitives. |
| 20653 | Six reduction levels: groups, lives, cells, molecules, atoms, particles [Putnam/Oppenheim, by Watson] |
| Full Idea: There are six 'reductive levels' in science: social groups, (multicellular) living things, cells, molecules, atoms, and elementary particles. | |
| From: report of H.Putnam/P.Oppenheim (Unity of Science as a Working Hypothesis [1958]) by Peter Watson - Convergence 10 'Intro' | |
| A reaction: I have the impression that fields are seen as more fundamental that elementary particles. What is the status of the 'laws' that are supposed to govern these things? What is the status of space and time within this picture? |
| 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. |
| 20469 | There are probably no infinities, and 'infinite' names what we do not yet know [Rovelli] |
| Full Idea: 'Infinite', ultimately, is the name that we give to what we do not yet know. Nature appears to be telling us that there is nothing truly infinite. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 11) |
| 20461 | The basic ideas of fields and particles are merged in quantum mechanics [Rovelli] |
| Full Idea: The notions of fields and particles, separated by Faraday and Maxwell, end up merging in quantum mechanics. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) | |
| A reaction: This sounds to me just like Anaximander's 'apeiron' - the unlimited [Rovelli agrees! p.168]. Anaximander predicted the wall which enquiry would hit, but we now have more detail. |
| 20462 | Because it is quantised, a field behaves like a set of packets of energy [Rovelli] |
| Full Idea: Since the energy of the electromagnetic field can take on only certain values, the field behaves like a set of packets of energy. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) |
| 20463 | There are about fifteen particles fields, plus a few force fields [Rovelli] |
| Full Idea: There are about fifteen fields, whose quanta are elementary particles (electrons, quarks, muons, neutrinos, Higgs, and little else), plus a few fields similar to the electromagnetic one, which describe forces at a nuclear scale, with quanta like photons. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) | |
| A reaction: According to Rovelli, this sentence describes the essence of physical reality. |
| 20464 | The world consists of quantum fields, with elementary events happening in spacetime [Rovelli] |
| Full Idea: The world is not made up of fields and particles, but of a single type of entity: the quantum field. There are no longer particles which move in space with the passage of time, but quantum fields whose elementary events happen in spacetime. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) | |
| A reaction: If you are not a scientist, there is (I find) a strong tendency to read and digest stuff like this, and then forget it the next day, because it so far from our experience. Folk like me have to develop two parallel views of the nature of reality. |
| 20459 | Electrons only exist when they interact, and their being is their combination of quantum leaps [Rovelli] |
| Full Idea: Electrons don't always exist. They exist when they interact. They materialize when they collide with something. The quantum leap from one orbit to another constitutes their way of being real. An electron is a combination of leaps between interactions. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) | |
| A reaction: If a philosopher with an Aristotelian interest in the nature of matter wants to grasp the modern view, the electron looks like the thing to focus on. You can feel Rovelli battling here to find formulations that might satisfy a philosopher. |
| 20460 | Electrons are not waves, because their collisions are at a point, and not spread out [Rovelli] |
| Full Idea: Schrödinger's wave is a bad image for an electron, because when a particle collides with something else, it is always at a point: it is never spread out in space like a wave. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04 note) | |
| A reaction: And yet there is the diffusion in the two-slit experiment, which Thomas Young discovered for light. I must take Rovelli's word for this. |
| 20466 | Quantum Theory describes events and possible interactions - not how things are [Rovelli] |
| Full Idea: Quantum Theory does not describe things as they are: it describes how things occur and interact with each other. It doesn't describe where there is a particle but how it shows itself to others. The world of existence is reduced to possible interactions. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) | |
| A reaction: Fans of 'process philosophy' should like this, though he is not denying that there may be facts about how things are - it is just that this is not mentioned in the theory. There is not much point in philosophers yearning to know the reality. |
| 20465 | Nature has three aspects: granularity, indeterminacy, and relations [Rovelli] |
| Full Idea: I think that quantum mechanics has revealed three aspects of the nature of things: granularity, indeterminacy, and the relational structure of the world. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 04) |
| 20458 | The world is just particles plus fields; space is the gravitational field [Rovelli] |
| Full Idea: The world is made up of particles + fields, and nothing else; there is no need to add space as an extra ingredient. Newton's space is the gravitational field. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 03) | |
| A reaction: I get the impression that particles are just bumps or waves in the fields [yes! Rovelli p.110], which would mean there are fields and nothing else. And no one seems to know what a field is. |
| 20470 | Only heat distinguishes past from future [Rovelli] |
| Full Idea: It is always heat and only heat that distinguishes the past from the future. | |
| From: Carlo Rovelli (Reality is Not What it Seems [2014], 12) | |
| A reaction: I can remember the past but not the future - so can that fact be reduced to facts about heat? |
| 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? |