11 ideas
| 13230 | Particular essence is often captured by generality [Steiner,M] |
| Full Idea: Generality is often necessary for capturing the essence of a particular. | |
| From: Mark Steiner (Mathematical Explanation [1978], p.36) | |
| A reaction: The most powerful features of an entity are probably those which are universal, like intelligence or physical strength in a human. Those characteristics are powerful because they compete with the same characteristic in others (perhaps?). |
| 13229 | Maybe an instance of a generalisation is more explanatory than the particular case [Steiner,M] |
| Full Idea: Maybe to deduce a theorem as an instance of a generalization is more explanatory than to deduce it correctly. | |
| From: Mark Steiner (Mathematical Explanation [1978], p.32) | |
| A reaction: Steiner eventually comes down against this proposal, on the grounds that some proofs are too general, and hence too far away from the thing they are meant to explain. |
| 13231 | Explanatory proofs rest on 'characterizing properties' of entities or structure [Steiner,M] |
| Full Idea: My proposal is that an explanatory proof makes reference to the 'characterizing property' of an entity or structure mentioned in the theorem, where the proof depends on the property. If we substitute a different object, the theory collapses. | |
| From: Mark Steiner (Mathematical Explanation [1978], p.34) | |
| A reaction: He prefers 'characterizing property' to 'essence', because he is not talking about necessary properties, since all properties are necessary in mathematics. He is, in fact, reverting to the older notion of an essence, as the core power of the thing. |
| 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. |
| 20930 | The existence of law is one thing, its merits and demerits another [Austin,J] |
| Full Idea: The existence of law is one thing; its merit and demerit another. Whether it be or be not is one enquiry; whether it be or be not conformable to an assumed standard is a different enquiry. | |
| From: John Austin (Lectures on Jurisprudence [1858], p.214), quoted by Jens Zimmermann - Hermeneutics: a very short introduction 6 'Positivism' | |
| A reaction: It is impossible to contest this point, but the issue is whether there is nothing more to law than its written existence. |