43 ideas
| 19335 | Reasonings have a natural ordering in God's understanding, but only a temporal order in ours [Leibniz] |
| Full Idea: All reasonings are eminent in God, and they preserve an order among themselves in his understanding as well as in ours; but for him this is just an order and a priority of nature, whereas for us there is a priority of time. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.192), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.III | |
| A reaction: This view is found in Frege, and seems to be the hallmark of rationalist philosophy. There is an apriori assumption that reality has a rational order, so that pure reason is a tool for grasping it. Lewis's 'mosaic' of experiences has no order. |
| 1564 | True and false statements can use exactly the same words [Anon (Diss)] |
| Full Idea: There is no difference between a true statement and a false statement, because they can use exactly the same words. | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §4) |
| 1559 | Thracians think tattooing adds to a girl's beauty, but elsewhere it is a punishment [Anon (Diss)] |
| Full Idea: Thracians think that tattooing enhances a girl's beauty, whereas for everyone else tattooing is a punishment for a crime. | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §2) |
| 1561 | Anything can be acceptable in some circumstances and unacceptable in others [Anon (Diss)] |
| Full Idea: Anything can be acceptable under the right circumstances, and unacceptable under the wrong circumstances. | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §2) |
| 1560 | Lydians prostitute their daughters to raise a dowery, but no Greek would marry such a girl [Anon (Diss)] |
| Full Idea: The Lydians find it acceptable for their daughters to work as prostitutes to raise money for getting married, but no one in Greece would be prepared to marry such a girl. | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §2) |
| 19367 | Saying we must will whatever we decide to will leads to an infinite regress [Leibniz] |
| Full Idea: As for volition itself, to say that it is the object of free will is incorrect. We will to act, strictly speaking, and we do not will to will, else we should still say we will to have the will to will, and that would go on to infinity. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.151), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 4.IV | |
| A reaction: This strikes me as an elementary difficulty which most fans of free will appear to evade. Thoughts just arise in us, and some of them are volitions. We can say there is then a 'gap' (Searle) where we choose, but what happens in the gap? |
| 19351 | Perfections of soul subordinate the body, but imperfections of soul submit to the body [Leibniz] |
| Full Idea: Insofar as the soul has perfection ...God has accommodated the body to the soul, and has arranged beforehand that the body is impelled to execute its orders. Insofar as it is imperfect and confused, God accommodates soul to body, swayed by passions. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.159), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 3.IV | |
| A reaction: Perkins says this is the nearest Leibniz gets to the idea of interaction between body and soul. Perfection and confusion are on a continuum for Leibniz. With such speculations I always wonder how these things can be known. How perfect is my mind? |
| 19331 | Will is an inclination to pursue something good [Leibniz] |
| Full Idea: One may say that 'will' consists in the inclination to do something in proportion to the good it contains. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.136), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.III | |
| A reaction: This emphasises that the will is faced with options, rather than generating the options. The context is a discussion of the nature of God's will. I think 'will' is a really useful concept, and dislike the Hobbesian rejection of will. |
| 1567 | How could someone who knows everything fail to act correctly? [Anon (Diss)] |
| Full Idea: If someone knows the nature of everything, how could he fail to be able also to act correctly in every case? | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §8) |
| 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. |
| 1563 | Every apparent crime can be right in certain circumstances [Anon (Diss), by PG] |
| Full Idea: It can be right, in certain circumstances, to steal, to break a solemn promise, to rob temples, and even (as Orestes did) to murder one's nearest and dearest. | |
| From: report of Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §3) by PG - Db (ideas) | |
| A reaction: Not sure about the last one! I suppose you can justify any hideousness if the fate of the universe depends on it. It must be better to die than the perform certain extreme deeds. |
| 19346 | Most people facing death would happily re-live a similar life, with just a bit of variety [Leibniz] |
| Full Idea: I believe there would be few persons who, being at the point of death, were not content to take up life again, on condition of passing through the same amount of good and evil, provided that it were not the same kind. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.130), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.IV | |
| A reaction: Nice challenge. People who refuse the offer are not necessarily suicidal. He's probably right, but Leibniz doesn't recognise the factor of boredom. Look up the suicide note of the actor George Sanders! One life may be enough. |
| 19340 | Metaphysical evil is imperfection; physical evil is suffering; moral evil is sin [Leibniz] |
| Full Idea: Evil may be taken metaphysically, physically, and morally. Metaphysical evil consists in mere imperfection, physical evil is suffering, and moral evil is sin. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.136), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.IV | |
| A reaction: There seem to be plenty of imperfections in the world which don't look like evil. Or do you only declare it to be an imperfection because it seems to be evil (by some other standard)? Human evil comes from ignorance, so metaphysical explains moral. |
| 19366 | You can't assess moral actions without referring to the qualities of character that produce them [Leibniz] |
| Full Idea: One is more worthy of praise when one owes the action to one's good qualities, and more culpable in proportion as one has been impelled by one's evil qualities; assessing actions without weighing the qualities whence they spring is to talk at random. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.426), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 4.IV | |
| A reaction: Mill tries to separate judgement of the agent from judgement of the consequences of the action, but I think Leibniz has spotted that just judging outcomes ceases to be a 'moral' judgement. |
| 1562 | It is right to lie to someone, to get them to take medicine they are reluctant to take [Anon (Diss)] |
| Full Idea: It is right to lie to your parents, in order to get them to take a good medicine they are reluctant to take. | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §3) | |
| A reaction: I dread to think what the medicines were which convinced the writer of this. A rule such as this strikes me as dangerous. Justifiable in extreme cases. House on fire etc. |
| 1566 | The first priority in elections is to vote for people who support democracy [Anon (Diss)] |
| Full Idea: A lottery is not democratic, because every state contains people who are not democratic, and if the lottery chooses them they will destroy the democracy. People should elect those who are observed to favour democracy. | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §7) |
| 1565 | We learn language, and we don't know who teaches us it [Anon (Diss)] |
| Full Idea: We learn language, and we don't know who teaches us it. | |
| From: Anon (Diss) (Dissoi Logoi - on Double Arguments [c.401 BCE], §6) |
| 19326 | God must be intelligible, to select the actual world from the possibilities [Leibniz] |
| Full Idea: The cause of the world must be intelligent: for this existing world being contingent and an infinity of worlds being equally possible, with equal claim to existence, the cause of the world must have regarded all of these worlds to fix on one of them. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.127), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.II | |
| A reaction: A wonderfully Leibnizian way of putting what looks like the design argument. |
| 19327 | The intelligent cause must be unique and all-perfect, to handle all the interconnected possibilities [Leibniz] |
| Full Idea: The intelligent cause ought to be infinite in all ways, and absolutely perfect in power, in wisdom, and in goodness, since it relates to all that which is possible. Also, since all is connected together, there is no ground for admitting more than one. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.128), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.II | |
| A reaction: Notice that Leibniz's possible worlds seem to be all connected together, unlike David Lewis's worlds, which are discrete. Personally I suspect that all perfections will lead to contradiction, though Leibniz strongly argues against it. |
| 19344 | God prefers men to lions, but might not exterminate lions to save one man [Leibniz] |
| Full Idea: It is certain that God sets greater store by a man than a lion; nevertheless it can hardly be said with certainty that God prefers a single man in all respects to the whole of lion-kind. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.189), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.IV | |
| A reaction: Lovely problems arise when you guess at God's values! We have the same problem. Would you kill a poacher who was wiping out the last remaining lions? How many lions would you kill to save a human? |
| 19330 | If justice is arbitrary, or fixed but not observed, or not human justice, this undermines God [Leibniz] |
| Full Idea: The three dogmas (1) that the nature of justice is arbitrary, (2) it is fixed, but not certain God will observe it, or (3) the justice we know is not that which God observes, destroy our confidence in the love of God. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.237), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.III | |
| A reaction: Leibniz proceeds to carefully refute these three responses to the dilemma about how justice relates to God. |
| 19325 | God is the first reason of things; our experiences are contingent, and contain no necessity [Leibniz] |
| Full Idea: God is the first reason of things: all that we see and experience is contingent and nothing in them renders their existence necessary. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.127), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.II | |
| A reaction: Perkins presents this as the first step in one of Leibniz's arguments for God. They all seem to be variants of the ontological argument. [His 'Theodicy' is the Huggard translation, 1985] This resembles Aquinas's Third Way. |
| 19329 | The laws of physics are wonderful evidence of an intelligent and free being [Leibniz] |
| Full Idea: These admirable laws [of physics] are wonderful evidence of an intelligent and free being, as opposed to the system of absolute and brute necessity, advocated by Strato and Spinoza. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.332), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.II | |
| A reaction: Note the swipe at Spinoza. Leibniz defends the absolute necessities residing in God, but is too polite to call those 'brute', though personally I can't see the difference. But he says the laws arise from 'perfection and order', not from God's necessity. |
| 19437 | Prayers are useful, because God foresaw them in his great plan [Leibniz] |
| Full Idea: Not only cares and labours but also prayers are useful; God having had these prayers in view before he regulated things. | |
| From: Gottfried Leibniz (The Theodicy [1710], Abridge III) | |
| A reaction: Hm. I'm struggling with this one. So I can't skip prayers today, because God has foreseen them and included them in his great plan? Hard to motivate yourself, like starting a game of chess after you've already been declared the winner. |
| 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? |
| 19337 | How can an all-good, wise and powerful being allow evil, sin and apparent injustice? [Leibniz] |
| Full Idea: There is this question of natural theology, how a sole Principle, all-good, all-wise and all-powerful, has been able to admit evil, and especially to permit sin, and how it could resolve to make the wicked often happy and the good unhappy? | |
| From: Gottfried Leibniz (The Theodicy [1710], p.098), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.IV | |
| A reaction: His answer is, roughly, that there is an unavoidable trade-off, which humans cannot fully understand. Personally I would say that if there is a God, the evidence for his benevolence towards humanity is not encouraging. |
| 19345 | Being confident of God's goodness, we disregard the apparent local evils in the visible world [Leibniz] |
| Full Idea: Being made confident by demonstrations of the goodness and the justice of God, we disregard the appearances of harshness and justice which we see in this small portion of his Kingdom that is exposed to our gaze. | |
| From: Gottfried Leibniz (The Theodicy [1710], p.120), quoted by Franklin Perkins - Leibniz: Guide for the Perplexed 2.IV | |
| A reaction: Hm. If this locality is full of evils, and the rest of it is much better, how come we are stuck in this miserable corner of things? God is obliged to compromise, but did he select us to get the worst of it? |