22 ideas
| 8220 | Philosophy is in a perpetual state of digression [Deleuze/Guattari] |
| Full Idea: Philosophy can be seen as being in a perpetual state of digression. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.1) | |
| A reaction: Anyone who has ever tried to teach philosophy will vouch for this. Philosophy is the 'Arabian Nights', conjuring up wonderful stories, to avoid having to face something nasty. Philosophy is perpetual postponement of problems. |
| 8217 | Philosophy is a concept-creating discipline [Deleuze/Guattari] |
| Full Idea: Philosophy is the discipline that involves creating concepts. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], Intro) | |
| A reaction: One might very reasonably reply that Geography is a discipline which creates concepts. However, this emphasis is an interesting corrective to the school of analysis, which appears confined to existing, and even 'folk', concepts. |
| 8242 | Philosophy aims at what is interesting, remarkable or important - not at knowledge or truth [Deleuze/Guattari] |
| Full Idea: Philosophy does not consist in knowing, and is not inspired by truth. Rather, it is categories like Interesting, Remarkable, or Important that determine success or failure. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.3) | |
| A reaction: Speak for yourself. I wonder what the criteria are for 'Interesting' or 'Important'. They can't seriously count 'remarkable' as a criterion of philosophical success, can they? There can be remarkable stupidity. |
| 8223 | The plague of philosophy is those who criticise without creating, and defend dead concepts [Deleuze/Guattari] |
| Full Idea: Those who criticise without creating, those who are content to defend the vanished concept without being able to give it the forces it needs to return to life, are the plague of philosophy. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.1) | |
| A reaction: This seems to be the continental view of analytical philosophy, that it is pathetically conservative. I would offer MacIntyre as a response, who gives a beautiful analysis of why the super-modern view is dead. The French are hopelessly romantic. |
| 8247 | Phenomenology needs art as logic needs science [Deleuze/Guattari] |
| Full Idea: Phenomenology needs art as logic needs science. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 2.6) | |
| A reaction: I would have thought that it was science that needs logic. Art is more elitist than science, and less universal. I presume artists and phenomenologists share a target of deconstructing lived human experience. |
| 8224 | 'Eris' is the divinity of conflict, the opposite of Philia, the god of friendship [Deleuze/Guattari] |
| Full Idea: 'Eris' is the Greek divinity of discord, conflict, and strife, the complementary opposite of Philia, the divinity of union and friendship. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.2 n) | |
| A reaction: Are these actual gods? This interestingly implies that the wonders of dialectic and Socrates' elenchus are simply aspects of friendship, which was elevated by Epicurus to the highest good. The Greeks just wanted wonderful friends and fine speeches. |
| 8219 | Logic has an infantile idea of philosophy [Deleuze/Guattari] |
| Full Idea: Logic has an infantile idea of philosophy. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.1) | |
| A reaction: This offers some explanation of why Anglo-American philosophers are steeped in logic, and the continentals just ignore it. I have some sympathy with the French view. Logic seems to study language with all the interesting part drained off. |
| 8246 | Logic hates philosophy, and wishes to supplant it [Deleuze/Guattari] |
| Full Idea: A real hatred inspires logic's rivalry with, or its will to supplant, philosophy. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 2.6) | |
| A reaction: A delightful corrective to the neurotic inferiority that most English-speaking philosophers feel about their failure to master logic. What was Aristotle playing at when he invented logic? Philosophical talent is utterly different from a talent for logic. |
| 8221 | We cannot judge the Cogito. Must we begin? Must we start from certainty? Can 'I' relate to thought? [Deleuze/Guattari] |
| Full Idea: There is no point in wondering whether Descartes' Cogito is right or wrong. Is it necessary "to begin", and, if so, is it necessary to start from the point of view of a subjective certainty? Can thought be the verb of an I? There is no direct answer. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.1) | |
| A reaction: A nice first sentence for a work of philosophy would be "It is necessary to begin". Is the Cogito the only idea that is beyond judgement? I fear a slippery slope here, which would paralyse all of our judgements - and would therefore be ridiculous. |
| 8222 | Concepts are superior because they make us more aware, and change our thinking [Deleuze/Guattari] |
| Full Idea: If one concept is 'better' than an earlier one, it is because it makes us aware of new variations and unknown resonances, it carries out unforeseen cuttings-out, it brings forth an Event that surveys (survole) us. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.1) | |
| A reaction: I don't get much of that, but it is certainly in tune with the Kuhn/Feyerabend idea that what science can generate is fresh visions, rather than precisely expanded truths. Personally I consider it dangerous nonsense, but I thought I ought to pass it on. |
| 8218 | Other people completely revise our perceptions, because they are possible worlds [Deleuze/Guattari] |
| Full Idea: The concept of the Other Person as expression of a possible world in a perceptual field leads us to consider the components of this field in a new way. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.1) | |
| A reaction: I like the idea that other people are possible worlds. You can give reductionist accounts of the human animal till the cows come home, but when one walk into your visual field, the mind takes off. See Crusoe and Friday. |
| 8248 | Phenomenology says thought is part of the world [Deleuze/Guattari] |
| Full Idea: According to phenomenology, thought depends on man's relations with the world - with which the brain is necessarily in agreement because it is drawn from these relations. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], Conclusion) | |
| A reaction: The development of externalist views of mind, arising from the Twin Earth idea, seems to provide a link to continental philosophy, where similar ideas are found in Husserl, Sartre and Merleau-Ponty. So study science, psychology, or sociology? |
| 8245 | The logical attitude tries to turn concepts into functions, when they are really forms or forces [Deleuze/Guattari] |
| Full Idea: Logic is reductionist not accidentally, but essentially and necessarily: following the route marked out by Frege and Russell, it wants to turn the concept into a function (...when actually a concept is a form, or a force). | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 2.6) | |
| A reaction: [Last part on p.144] I'm not sure that I understand 'form or force', but the idea that concepts are mere functions is like describing something as 'transport', without saying whether it is bus/bike/train.. Is a concept a vision, or a tool? |
| 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. |
| 21906 | Political theory should not focus on the state or economy, but on the small scale of power [Deleuze/Guattari, by May] |
| Full Idea: Liberals who focus on the state and Marxists who focus on the economy are macropolitical theorists. They overlook the small elements that comprise our political lives. To understand how we are constructed and power works we must turn to the smaller scale. | |
| From: report of G Deleuze / F Guattari (A Thousand Plateaus [1980]) by Todd May - Gilles Deleuze 4.04 | |
| A reaction: This seems to be precisely in tune with the ideas of Foucault. I'm not sure that a study of power within the family or the office throws much light on macropolitics. How the micro intrudes into the micro seems more interesting. |
| 1743 | The greatest deterrence for injustice is if uninjured parties feel as much indignation as those who are injured [Solon, by Diog. Laertius] |
| Full Idea: Men can be most effectively deterred from committing injustice if those who are not injured feel as much indignation as those who are. | |
| From: report of Solon (reports [c.600 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 01.So.10 |
| 8243 | Atheism is the philosopher's serenity, and philosophy's achievement [Deleuze/Guattari] |
| Full Idea: It is amazing that so many philosophers take the death of God as tragic. Atheism is not a drama, but the philosopher's serenity and philosophy's achievement. | |
| From: G Deleuze / F Guattari (What is Philosophy? [1991], 1.4) | |
| A reaction: It seems to me that it is the late nineteenth and early twentieth century that feels the death of God as a tragedy. Modern Anglo-American philosophers are mostly pretty serene on the subject, unless, like Dennett, they go on the offensive. |