10 ideas
| 21846 | Bergson was a rallying point, because he emphasised becomings and multiplicities [Bergson, by Deleuze] |
| Full Idea: Bergson was a rallying point for all the opposition, …not so much because of the theme of duration, as of the theory and practice of becoming of all kinds, of coexistent multiplicities. | |
| From: report of Henri Bergson (Matter and Memory [1896]) by Gilles Deleuze - A Conversation: what is it? What is it for? I | |
| A reaction: The three heroes of Deleuze are Spinoza, Nietzsche and Bergson. All philosophers are either of Being, or of Becoming, I suggest. |
| 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). |
| 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. |
| 21854 | Bergson showed that memory is not after the event, but coexists with it [Bergson, by Deleuze] |
| Full Idea: Bergson has shown that memory is not an actual image which forms after the object has been perceived, but a virtual image coexisting with the actual perception of the object. | |
| From: report of Henri Bergson (Matter and Memory [1896]) by Gilles Deleuze - The Actual and the Virtual p.114 | |
| A reaction: It strikes me as plausible to say that all conscious life is memory. Perceiving the present instant is only possible because it endures for a tiny moment. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |