30 ideas
| 1848 | We are coerced into assent to a truth by reason's violence [Aquinas] |
| Full Idea: We are coerced into assent to a truth by reason's violence. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.10) |
| 1858 | The mind is compelled by necessary truths, but not by contingent truths [Aquinas] |
| Full Idea: Mind is compelled by necessary truths that can't be regarded as false, but not by contingent ones that might be false. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.h to 12) |
| 1852 | For the mind Good is one truth among many, and Truth is one good among many [Aquinas] |
| Full Idea: Good itself as taken in by mind is one truth among others, and truth itself as goal of mind's activity is one good among others. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.reply) |
| 1860 | Knowledge may be based on senses, but we needn't sense all our knowledge [Aquinas] |
| Full Idea: All our knowledge comes through our senses, but that doesn't mean that everything we know is sensed. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.h to 18) |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 1855 | If we saw something as totally and utterly good, we would be compelled to will it [Aquinas] |
| Full Idea: Something apprehended to be good and appropriate in any and every circumstance that could be thought of would compel us to will it. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.reply) |
| 1856 | Nothing can be willed except what is good, but good is very varied, and so choices are unpredictable [Aquinas] |
| Full Idea: Nothing can be willed except good, but many and various things are good, and you can't conclude from this that wills are compelled to choose this or that one. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.h to 05) |
| 1862 | However habituated you are, given time to ponder you can go against a habit [Aquinas] |
| Full Idea: However habituated you are, given time to ponder you can go against a habit. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.h to 24) |
| 1849 | Since will is a reasoning power, it can entertain opposites, so it is not compelled to embrace one of them [Aquinas] |
| Full Idea: Reasoning powers can entertain opposite objects. Now will is a reasoning power, so will can entertain opposites and is not compelled to embrace one of them. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.x2) |
| 1861 | The will is not compelled to move, even if pleasant things are set before it [Aquinas] |
| Full Idea: The will is not compelled to move, for it doesn't have to want the pleasant things set before it. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.h to 21) |
| 1853 | Because the will moves by examining alternatives, it doesn't compel itself to will [Aquinas] |
| Full Idea: Because will moves itself by deliberation - a kind of investigation which doesn't prove some one way correct but examines the alternatives - will doesn't compel itself to will. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.reply) |
| 1854 | We must admit that when the will is not willing something, the first movement to will must come from outside the will [Aquinas] |
| Full Idea: We are forced to admit that, in any will that is not always willing, the very first movement to will must come from outside, stimulating the will to start willing. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.reply) | |
| A reaction: cf Nietzsche |
| 1847 | The will must aim at happiness, but can choose the means [Aquinas] |
| Full Idea: The will is compelled by its ultimate goal (to achieve happiness), but not by the means to achieve it. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.07) |
| 1857 | We don't have to will even perfect good, because we can choose not to think of it [Aquinas] |
| Full Idea: The will can avoid actually willing something by avoiding thinking of it, since mental activity is subject to will. In this respect we aren't compelled to will even total happiness, which is the only perfect good. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.h to 07) |
| 1846 | The will can only want what it thinks is good [Aquinas] |
| Full Idea: Will's object is what is good, and so it cannot will anything but what is good. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.06) |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 1850 | Without free will not only is ethical action meaningless, but also planning, commanding, praising and blaming [Aquinas] |
| Full Idea: If we are not free to will in any way, but are compelled, everything that makes up ethics vanishes: pondering action, exhorting, commanding, punishing, praising, condemning. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.reply) | |
| A reaction: If doesn't require some magical 'free will' to avoid compulsions. All that is needed is freedom to enact your own willing, rather than someone else's. |
| 1851 | Good applies to goals, just as truth applies to ideas in the mind [Aquinas] |
| Full Idea: Good applies to all goals, just as truth applies to all forms mind takes in. | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.reply) | |
| A reaction: In danger of being tautological, if good is understood as no more than the goal of actions. It seems perfectly possibly to pursue a wicked end, and perhaps feel guilty about it. |
| 1748 | Archelaus was the first person to say that the universe is boundless [Archelaus, by Diog. Laertius] |
| Full Idea: Archelaus was the first person to say that the universe is boundless. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.Ar.3 |
| 1859 | Even a sufficient cause doesn't compel its effect, because interference could interrupt the process [Aquinas] |
| Full Idea: Even a sufficient cause doesn't always compel its effect, since it can sometimes be interfered with so that its effect doesn't happen | |
| From: Thomas Aquinas (Quaestiones Disputatae de Malo [1271], Q6.h to 15) |
| 5989 | Archelaus said life began in a primeval slime [Archelaus, by Schofield] |
| Full Idea: Archelaus wrote that life on Earth began in a primeval slime. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Malcolm Schofield - Archelaus | |
| A reaction: This sounds like a fairly clearcut assertion of the production of life by evolution. Darwin's contribution was to propose the mechanism for achieving it. We should honour the name of Archelaus for this idea. |