19 ideas
| 22361 | Contextual values are acceptable in research, but not in its final evaluation [Reichenbach, by Reiss/Sprenger] |
| Full Idea: Reichenbach's claim is interpreted as saying that contextual values, which may have contributed to the discovery of a theory, are irrelevant for justifying the acceptance of a theory, and for assessing how evidence bears on theory. | |
| From: report of Hans Reichenbach (On Probability and Induction [1938], pp.36-7) by Reiss,J/Spreger,J - Scientific Objectivity 3.2 | |
| A reaction: This influential idea is very helpful. It allows Galileo and co to pursus all sorts of highly personal and quirky lines of enquiry, because we only demand full objectivity when it is all over. Very good! |
| 9295 | Not only substances have attributes; events, actions, states and qualities can have them [Teichmann] |
| Full Idea: It is not true that only substances have attributes; events, actions, states and qualities can all be characterized. | |
| From: Jenny Teichmann (The Mind and the Soul [1974], Ch.2) | |
| A reaction: This is why it is so important to distinguish the actual properties in nature from those that can be fancifully hypothesized by a linguistic being. Is there any limit to the possible number of levels of meta-properties? |
| 18278 | Kant showed that our perceptions are partly constructed from our concepts [Reichenbach] |
| Full Idea: It was Kant's great discovery that the object of knowledge is not simply given but constructed, and that it contains conceptual elements not contained in pure perception. | |
| From: Hans Reichenbach (The Theory of Relativity and A Priori Knowledge [1965], p.49), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap |
| 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. |
| 9293 | Body-spirit interaction ought to result in losses and increases of energy in the material world [Teichmann] |
| Full Idea: Since the interaction of bodies themselves involves energy-flow, it looks as if interaction between body and spirit ought to result in losses and increases of energy in the material world. | |
| From: Jenny Teichmann (The Mind and the Soul [1974], Ch.2) | |
| A reaction: A nice statement of an important argument. It forces the dualist to go the whole way, asserting that not only is the mind immaterial, but that it can be active without energy, and cover its traces in the physical world. Doesn't look good. |
| 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. |
| 8410 | A theory of causal relations yields an asymmetry which defines the direction of time [Reichenbach, by Salmon] |
| Full Idea: Reichenbach wanted to implement a causal theory of time. He did not stipulate that causes are temporally prior to their effects. Instead, he constructs a theory of causal relations to yield a causal asymmetry which is used to define temporal priority. | |
| From: report of Hans Reichenbach (The Direction of Time [1956]) by Wesley Salmon - Probabilistic Causality | |
| A reaction: I find his approach implausible. I suspect strong empiricism is behind it - that he wants to build from observable causes to unobservable time, not vice versa. But normal intuition sees time as one of the bedrocks of reality, making events possible. |
| 14935 | The direction of time is grounded in the direction of causation [Reichenbach, by Ladyman/Ross] |
| Full Idea: Reichenbach argued that temporal asymmetry is grounded in causal asymmetry. | |
| From: report of Hans Reichenbach (The Direction of Time [1956]) by J Ladyman / D Ross - Every Thing Must Go | |
| A reaction: I'm not sure that I can make sense of giving priority either to time or to causation when it comes to this asymmetry. How do you decide which one is boss? |
| 9292 | The Soul has no particular capacity (in the way thinking belongs to the mind) [Teichmann] |
| Full Idea: On the whole, the Soul has no capacities which belong to it pre-eminently in the way that thinking 'belongs' to the mind. | |
| From: Jenny Teichmann (The Mind and the Soul [1974], Ch.1) | |
| A reaction: There are no phenomena which have to be saved by postulating a soul. It lacks a function within a human being, but it has a crucial function within a large theological picture. |
| 9294 | No individuating marks distinguish between Souls [Teichmann] |
| Full Idea: There are no individuating marks which could serve to differentiate one Soul from another. | |
| From: Jenny Teichmann (The Mind and the Soul [1974], Ch.2) | |
| A reaction: Presumably they could have at least much identity as two different electrons (if they are in space-time?). It is hard to see why anyone would be interested in their 'own' immortality, if loss of all individuality was a condition. |