33 ideas
| 9254 | In philosophy the truth can only be reached via the ruins of the false [Prichard] |
| Full Idea: In philosophy the truth can only be reached via the ruins of the false. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: A lovely remark! In a flash you suddenly see why philosophers expend such vast energy on such unpromising views of reality (e.g. idealism, panpsychism). This might be the best definition of philosophy I have yet discovered. |
| 6222 | If a decision is in accord with right reason, everyone can agree with it [Cumberland] |
| Full Idea: No decision can be in accord with right reason unless all can agree on it. | |
| From: Richard Cumberland (De Legibus Naturae [1672], Ch.V.XLVI) | |
| A reaction: Personally I think anyone who disagrees with this should get out of philosophy (and into sociology, fantasy fiction, ironic game-playing, crime…). Of course 'can' agree is not the same as 'will' agree. You must have faith that good reasons are persuasive. |
| 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. |
| 9261 | The 'Ethics' is disappointing, because it fails to try to justify our duties [Prichard] |
| Full Idea: Reading the 'Ethics' is so disappointing, because Aristotle does not try to convince us that we really ought to do what our non-reflective consciousness has hitherto believed we ought to do. | |
| From: H.A. Prichard (Does moral phil rest on a mistake? [1912]) | |
| A reaction: Aristotle didn't speak the language of 'duty' (see Idea 2172), but he could work it into his account if Prichard asked nicely. I take the truly virtuous person to be, above all, a wonderful citizen. Duties are contractual; good deeds flow from virtue. |
| 6217 | Natural law is supplied to the human mind by reality and human nature [Cumberland] |
| Full Idea: Some truths of natural law, concerning guides to moral good and evil, and duties not laid down by civil law and government, are necessarily supplied ot the human mind by the nature of things and of men. | |
| From: Richard Cumberland (De Legibus Naturae [1672], Ch.I.I) | |
| A reaction: I agree that some moral truths have the power of self-evidence. If you say they are built into the mind, we now ask what did the building, and evolution is the only answer, and hence we distance ourselves from the truths, seeing them as strategies. |
| 6221 | If there are different ultimate goods, there will be conflicting good actions, which is impossible [Cumberland] |
| Full Idea: If there be posited different ultimate ends, whose causes are opposed to each other, then there will be truly good actions likewise opposed to each other, which is impossible. | |
| From: Richard Cumberland (De Legibus Naturae [1672], Ch.V.XVI) | |
| A reaction: A very interesting argument for there being one good rather than many, and an argument which I don't recall in any surviving Greek text. A response might be to distinguish between what is 'right' and what is 'good'. See David Ross. |
| 9262 | The mistake is to think we can prove what can only be seen directly in moral thinking [Prichard] |
| Full Idea: Moral Philosophy rests on the mistake of supposing the possibility of proving what can only be apprehended directly by an act of moral thinking. | |
| From: H.A. Prichard (Does moral phil rest on a mistake? [1912]) | |
| A reaction: This is a beginning of the rebellion against the Enlightenment Project in ethics, which is why Prichard has become popular. At bottom he is offering intuition ('direct moral thinking'), which is a frustratingly thin concept. |
| 9256 | I see the need to pay a debt in a particular instance, and any instance will do [Prichard] |
| Full Idea: How can I be brought to see the truth of the principle of paying a debt except in connection with a particular instance? For this purpose any instance will do. If I cannot see that I ought to pay this debt, I shall not see that I ought to a debt. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: This isn't quite particularism, which would (I think) say that the degree of obligation will never be quite the same in any two situations, and so one instance will not suffice to understand the duty. |
| 9257 | The complexities of life make it almost impossible to assess morality from a universal viewpoint [Prichard] |
| Full Idea: Owing to the complication of human relations, the problem of what one ought to do from the point of view of life as a whole is one of intense difficulty. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: I suspect that the difficulty is not the problems engendered by complexity, but that there is no answer available from the most objective point of view. Morality simply is a matter of how daily life is conducted, with medium-term goals only. |
| 9260 | Virtues won't generate an obligation, so it isn't a basis for morality [Prichard] |
| Full Idea: It is untrue to urge that, since courage is a virtue, we ought to act courageously. We feel an obligation to act, but not from a certain desire. The action is done from obligation, so isn't an act of courage. ..In fact, virtue is no basis for morality. | |
| From: H.A. Prichard (Does moral phil rest on a mistake? [1912]) | |
| A reaction: One of the few interesting and direct attacks on virtue theory, before its modern revival. Prichard urges a perception of what is valuable (or good) as the basis for obligation and right action. He is right that values come first, in virtue and elsewhere. |
| 9259 | We feel obligations to overcome our own failings, and these are not relations to other people [Prichard] |
| Full Idea: The relation involved in an obligation need not be a relation to another at all. Thus we should admit that there is an obligation to overcome our natural timidity or greediness, and this involves no relations to others. | |
| From: H.A. Prichard (Does moral phil rest on a mistake? [1912]) | |
| A reaction: An interesting un-Aristotelian and individualistic view of virtue. Why would we want to rid ourselves of timidity or greediness? Either it is self-interested, or we wish to be better citizens. See Richard Taylor on duty. |
| 9255 | Seeing the goodness of an effect creates the duty to produce it, not the desire [Prichard] |
| Full Idea: The appreciation of the goodness of the effect is different from desire for the effect, and will originate not the desire but the sense of obligation to produce it. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: A wonderful rebuttal of Hume, and a much better account of duty than Kant's idea that it arises from reason. Perception of value is what generates duty. And (with Frankfurt) we may say that love is what generates value. |
| 6218 | The happiness of individuals is linked to the happiness of everyone (which is individuals taken together) [Cumberland] |
| Full Idea: The happiness of each person cannot be separated from the happiness of all, because the whole is no different from the parts taken together. | |
| From: Richard Cumberland (De Legibus Naturae [1672], Ch.I.VI) | |
| A reaction: Sounds suspiciously like the fallacy of composition (Idea 6219). An objection to utilitarianism is its assumption that a group of people have a 'total happiness' that is different from their individual states. Still, Cumberland is on to utilitarianism. |
| 6220 | The happiness of all contains the happiness of each, and promotes it [Cumberland] |
| Full Idea: The common happiness of all contains the greatest happiness for each, and most effectively promotes it. …There is no path leading anyone to his own happiness, other than the path which leads all to the common happiness. | |
| From: Richard Cumberland (De Legibus Naturae [1672], Ch.I.VI) | |
| A reaction: I take this as a revolutionary idea, which leads to utilitarianism. It is doing what seemed to the Greeks unthinkable, which is combining hedonism with altruism. There is no proof for it, but it is a wonderful clarion call for building a civil society. |
| 9258 | If pain were instrinsically wrong, it would be immoral to inflict it on ourselves [Prichard] |
| Full Idea: If the badness of pain were the reason why we ought not to inflict pain on another, it would equally be a reason why we ought not to inflict pain on ourselves; yet, though we would call such behaviour foolish, we wouldn't think it wrong. | |
| From: H.A. Prichard (Does moral phil rest on a mistake? [1912], n4) | |
| A reaction: A very nice point. Note that it will equally well apply to 'benefit' or 'preferences', or any other ideal which utilitarians set out to maximise. It may not be bad to hurt yourself, but it might still be bad to harm yourself. |
| 6216 | Natural law is immutable truth giving moral truths and duties independent of society [Cumberland] |
| Full Idea: Natural law is certain propositions of immutable truth, which guide voluntary actions about the choice of good and avoidance of evil, and which impose an obligation to act, even without regard to civil laws, and ignoring compacts of governments. | |
| From: Richard Cumberland (De Legibus Naturae [1672], Ch.I.I) | |
| A reaction: Not a popular view, but I am sympathetic. If you are in a foreign country and find a person lying in pain, there is a terrible moral deficiency in anyone who just ignores such a thing. No legislation can take away a person's right of self-defence. |
| 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? |