Combining Philosophers

All the ideas for Jacques Lenfant, Lord Kelvin (Wm Thomson) and W Wimsatt/W Beardsley

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9 ideas

8. Modes of Existence / C. Powers and Dispositions / 4. Powers as Essence

12750	The question is whether force is self-sufficient in bodies, and essential, or dependent on something [Lenfant]
	Full Idea: The whole question is to know if the force to act in bodies is in matter something distinct and independent of everything else that one conceives there. Without that, this force cannot be its essence, and will remain the result of some primitive quality.
	From: Jacques Lenfant (Letters to Leibniz [1693], 1693.11.07), quoted by Daniel Garber - Leibniz:Body,Substance,Monad 8
	A reaction: This challenge to Leibniz highlights the drama of trying to simultaneously arrive at explanations of things, and to decide the nature of essence. Leibniz replied that force is primitive, because it is the 'principle' of behaviour and dispositions.

14. Science / B. Scientific Theories / 1. Scientific Theory

22363	You have only begun to do real science when you can express it in numbers [Kelvin]
	Full Idea: When you cannot express it in numbers, your knowledge is of a meagre and unsatisfactory kind; it may be the beginning of knowledge, but you have scarcely, in your thoughts, advanced to the stage of science, whatever the matter may be.
	From: Lord Kelvin (Wm Thomson) (works [1881]), quoted by Reiss,J/Spreger,J - Scientific Objectivity 4.1
	A reaction: [Popular Lectures 1 p.73] Clearly the writer is a physicist! Astronomers discover objects, geologists discover structures, biologists reveal mechanisms.

21. Aesthetics / C. Artistic Issues / 1. Artistic Intentions

20400	Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S]
	Full Idea: Wimsatt and Beardsley claimed that either the intention succeeded, so one does not need to look outside the work for its meaning, or the intention failed, so external evidence does not help.
	From: report of W Wimsatt/W Beardsley (The Intentional Fallacy [1946]) by Stephen Davies - The Philosophy of Art (2nd ed) 5.3
	A reaction: Actually, the external evidence may tell you much more clearly and accurately what the intention was than the work itself does. The best example may be the title of the work, which is presumably outside the work.

7266	The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley]
	Full Idea: The design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art.
	From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I)
	A reaction: This famous proposal may have been misunderstood. Note that it is a comment about judging the work, not about understanding it. The idea allows for a work being much more successful than the author's humble intentions (e.g. Pepys).

7267	Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley]
	Full Idea: Poetry differs from practical messages, which are successful if and only if we correctly infer the intention.
	From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I)
	A reaction: I am not convinced by this claim. It is plausible that a work does much more than it intends (Astaire said he danced "to make a buck"), but it is rather odd to rate very highly a work of which you have missed the point.

7268	The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley]
	Full Idea: We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference.
	From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I)
	A reaction: Wrong. If in Browning's "My Last Duchess" (say), we only inferred the mind of the speaker (and his Duchess), and took no interest in Browning's view of things, we would miss the point. We might end up respecting the Duke, which would be daft.

7269	The intentional fallacy is a romantic one [Wimsatt/Beardsley]
	Full Idea: The intentional fallacy is a romantic one.
	From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §II)
	A reaction: Wrong. Even with those most famous of anonymous artists, the architects and carvers of medieval cathedrals, without some discernment of the purpose you won't get it. The Taj Mahal is a love letter, not a potential ice cream parlour.

7271	Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley]
	Full Idea: The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance.
	From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §IV)
	A reaction: I am very keen to penetrate the author's intentions, but I have always be doubtful about the use of biography as a means to achieve this. Most of the effort to infer intentions must come from a study of the work itself, not introductions, letters etc.

27. Natural Reality / A. Classical Physics / 2. Thermodynamics / a. Energy

20644	Energy has progressed from a mere formula, to a principle pervading all nature [Kelvin]
	Full Idea: The name 'energy', first used by Thomas Young, has come into use after it was raised from a mere formula of mathematical dynamics to become a principle pervading all nature, and guiding every field of science.
	From: Lord Kelvin (Wm Thomson) (works [1881]), quoted by Peter Watson - Convergence 01 'Principle'
	A reaction: [bit compressed] As far as I can see energy behaves exactly as if it were a substance, like water conserved in rainfalls, and yet it isn't a stuff, and seems to result from a process of abstraction. I take it to be one of the biggest mysteries in physics.