11 ideas
| 6455 | Maybe 'sense-data' just help us to talk about unusual perceptual situations [Lacey] |
| Full Idea: One possibility is that talk of sense-data is a mere linguistic convenience, providing a noun for talking about appearances, as when seeing a red object in sodium light (when it looks grey). | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The term seems to have been coined to deal with situations where there is a gap between appearance and presumed reality, as in illusions. Maybe illusions prove the existence of sense-data, rather than it being a 'convenient' term. |
| 6454 | Where do sense-data begin or end? Can they change? What sort of thing are they? [Lacey] |
| Full Idea: It is hard to individuate sense-data, saying where one ends and the next begins, and hard to say whether they can change; are they substances, qualities, events, or what? | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The problem is not that these questions are unanswerable. The answer seems to be either that they are physical and external, or that they are mental and internal, and that there is no ontological space for them between the two. |
| 6453 | Some claim sense-data are public, and are parts of objects [Lacey] |
| Full Idea: Sometimes it is said that sense-data are public, and parts either of objects or of the surfaces of objects. | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: This suggests two drastically different theories, one making sense-data into mental events, the other placing them in the 'external' world. The latter theory can dovetail them with the physics, but then why would we need them? |
| 604 | Knowledge is mind and knowing 'cohabiting' [Lycophron, by Aristotle] |
| Full Idea: Lycophron has it that knowledge is the 'cohabitation' (rather than participation or synthesis) of knowing and the soul. | |
| From: report of Lycophron (fragments/reports [c.375 BCE]) by Aristotle - Metaphysics 1045b | |
| A reaction: This sounds like a rather passive and inert relationship. Presumably knowing something implies the possibility of acting on it. |
| 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. |