33 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. |
| 17945 | Forms are not a theory of universals, but an attempt to explain how predication is possible [Nehamas] |
| Full Idea: The theory of Forms is not a theory of universals but a first attempt to explain how predication, the application of a single term to many objects - now considered one of the most elementary operations of language - is possible. | |
| From: Alexander Nehamas (Introduction to 'Virtues of Authenticity' [1999], p.xxvii) |
| 17946 | Only Tallness really is tall, and other inferior tall things merely participate in the tallness [Nehamas] |
| Full Idea: Only Tallness and nothing else really is tall; everything else merely participates in the Forms and, being excluded from the realm of Being, belongs to the inferior world of Becoming. | |
| From: Alexander Nehamas (Introduction to 'Virtues of Authenticity' [1999], p.xxviii) | |
| A reaction: This is just as weird as the normal view (and puzzle of participation), but at least it makes more sense of 'metachein' (partaking). |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 17944 | 'Episteme' is better translated as 'understanding' than as 'knowledge' [Nehamas] |
| Full Idea: The Greek 'episteme' is usually translated as 'knowledge' but, I argue, closer to our notion of understanding. | |
| From: Alexander Nehamas (Introduction to 'Virtues of Authenticity' [1999], p.xvi) | |
| A reaction: He agrees with Julia Annas on this. I take it to be crucial. See the first sentence of Aristotle's 'Metaphysics'. It is explanation which leads to understanding. |
| 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. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 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? |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 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. |