50 ideas
| 19693 | There is practical wisdom (for action), and theoretical wisdom (for deep understanding) [Aristotle, by Whitcomb] |
| Full Idea: Aristotle takes wisdom to come in two forms, the practical and the theoretical, the former of which is good judgement about how to act, and the latter of which is deep knowledge or understanding. | |
| From: report of Aristotle (works [c.330 BCE]) by Dennis Whitcomb - Wisdom Intro | |
| A reaction: The interesting question is then whether the two are connected. One might be thoroughly 'sensible' about action, without counting as 'wise', which seems to require a broader view of what is being done. Whitcomb endorses Aristotle on this idea. |
| 19090 | If we can't check our language against experience, philosophy is just comparing beliefs and words [Rorty] |
| Full Idea: If we cannot check our language against non-linguistic awareness, then philosophy can never be more than a discussion of the utility and compatibility of beliefs - and, more particularly, of the various vocabularies in which those beliefs are formulated. | |
| From: Richard Rorty (Brandom on Social Practices and Representations [1998], iii.127), quoted by Danielle Macbeth - Pragmatism and Objective Truth p.178 | |
| A reaction: I'm amazed at how many people I encounter in philosophy circles (compared with none at all outside those circles) who seem to think that we cannot check our language against our non-linguistic awareness. Rorty is their guru. Weird. |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 1575 | For Aristotle logos is essentially the ability to talk rationally about questions of value [Roochnik on Aristotle] |
| Full Idea: For Aristotle logos is the ability to speak rationally about, with the hope of attaining knowledge, questions of value. | |
| From: comment on Aristotle (works [c.330 BCE]) by David Roochnik - The Tragedy of Reason p.26 |
| 1589 | Aristotle is the supreme optimist about the ability of logos to explain nature [Roochnik on Aristotle] |
| Full Idea: Aristotle is the great theoretician who articulates a vision of a world in which natural and stable structures can be rationally discovered. His is the most optimistic and richest view of the possibilities of logos | |
| From: comment on Aristotle (works [c.330 BCE]) by David Roochnik - The Tragedy of Reason p.95 |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 8200 | Aristotelian definitions aim to give the essential properties of the thing defined [Aristotle, by Quine] |
| Full Idea: A real definition, according to the Aristotelian tradition, gives the essence of the kind of thing defined. Man is defined as a rational animal, and thus rationality and animality are of the essence of each of us. | |
| From: report of Aristotle (works [c.330 BCE]) by Willard Quine - Vagaries of Definition p.51 | |
| A reaction: Compare Idea 4385. Personally I prefer the Aristotelian approach, but we may have to say 'We cannot identify the essence of x, and so x cannot be defined'. Compare 'his mood was hard to define' with 'his mood was hostile'. |
| 4385 | Aristotelian definition involves first stating the genus, then the differentia of the thing [Aristotle, by Urmson] |
| Full Idea: For Aristotle, to give a definition one must first state the genus and then the differentia of the kind of thing to be defined. | |
| From: report of Aristotle (works [c.330 BCE]) by J.O. Urmson - Aristotle's Doctrine of the Mean p.157 | |
| A reaction: Presumably a modern definition would just be a list of properties, but Aristotle seeks the substance. How does he define a genus? - by placing it in a further genus? |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 13282 | Aristotle relativises the notion of wholeness to different measures [Aristotle, by Koslicki] |
| Full Idea: Aristotle proposes to relativise unity and plurality, so that a single object can be both one (indivisible) and many (divisible) simultaneously, without contradiction, relative to different measures. Wholeness has degrees, with the strength of the unity. | |
| From: report of Aristotle (works [c.330 BCE]) by Kathrin Koslicki - The Structure of Objects 7.2.12 | |
| A reaction: [see Koslicki's account of Aristotle for details] As always, the Aristotelian approach looks by far the most promising. Simplistic mechanical accounts of how parts make wholes aren't going to work. We must include the conventional and conceptual bit. |
| 4730 | For Aristotle, the subject-predicate structure of Greek reflected a substance-accident structure of reality [Aristotle, by O'Grady] |
| Full Idea: Aristotle apparently believed that the subject-predicate structure of Greek reflected the substance-accident nature of reality. | |
| From: report of Aristotle (works [c.330 BCE]) by Paul O'Grady - Relativism Ch.4 | |
| A reaction: We need not assume that Aristotle is wrong. It is a chicken-and-egg. There is something obvious about subject-predicate language, if one assumes that unified objects are part of nature, and not just conventional. |
| 13276 | The unmoved mover and the soul show Aristotelian form as the ultimate mereological atom [Aristotle, by Koslicki] |
| Full Idea: Aristotle's discussion of the unmoved mover and of the soul confirms the suspicion that form, when it is not thought of as the object represented in a definition, plays the role of the ultimate mereological atom within his system. | |
| From: report of Aristotle (works [c.330 BCE]) by Kathrin Koslicki - The Structure of Objects 6.6 | |
| A reaction: Aristotle is concerned with which things are 'divisible', and he cites these two examples as indivisible, but they may be too unusual to offer an actual theory of how Aristotle builds up wholes from atoms. He denies atoms in matter. |
| 13277 | The 'form' is the recipe for building wholes of a particular kind [Aristotle, by Koslicki] |
| Full Idea: Thus in Aristotle we may think of an object's formal components as a sort of recipe for how to build wholes of that particular kind. | |
| From: report of Aristotle (works [c.330 BCE]) by Kathrin Koslicki - The Structure of Objects 7.2.5 | |
| A reaction: In the elusive business of pinning down what Aristotle means by the crucial idea of 'form', this analogy strikes me as being quite illuminating. It would fit DNA in living things, and the design of an artifact. |
| 5991 | For Aristotle, knowledge is of causes, and is theoretical, practical or productive [Aristotle, by Code] |
| Full Idea: Aristotle thinks that in general we have knowledge or understanding when we grasp causes, and he distinguishes three fundamental types of knowledge - theoretical, practical and productive. | |
| From: report of Aristotle (works [c.330 BCE]) by Alan D. Code - Aristotle | |
| A reaction: Productive knowledge we tend to label as 'knowing how'. The centrality of causes for knowledge would get Aristotle nowadays labelled as a 'naturalist'. It is hard to disagree with his three types, though they may overlap. |
| 11239 | The notion of a priori truth is absent in Aristotle [Aristotle, by Politis] |
| Full Idea: The notion of a priori truth is conspicuously absent in Aristotle. | |
| From: report of Aristotle (works [c.330 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 1.5 | |
| A reaction: Cf. Idea 11240. |
| 23312 | Aristotle is a rationalist, but reason is slowly acquired through perception and experience [Aristotle, by Frede,M] |
| Full Idea: Aristotle is a rationalist …but reason for him is a disposition which we only acquire over time. Its acquisition is made possible primarily by perception and experience. | |
| From: report of Aristotle (works [c.330 BCE]) by Michael Frede - Aristotle's Rationalism p.173 | |
| A reaction: I would describe this process as the gradual acquisition of the skill of objectivity, which needs the right knowledge and concepts to evaluate new experiences. |
| 16111 | Aristotle wants to fit common intuitions, and therefore uses language as a guide [Aristotle, by Gill,ML] |
| Full Idea: Since Aristotle generally prefers a metaphysical theory that accords with common intuitions, he frequently relies on facts about language to guide his metaphysical claims. | |
| From: report of Aristotle (works [c.330 BCE]) by Mary Louise Gill - Aristotle on Substance Ch.5 | |
| A reaction: I approve of his procedure. I take intuition to be largely rational justifications too complex for us to enunciate fully, and language embodies folk intuitions in its concepts (especially if the concepts occur in many languages). |
| 16971 | Plato says sciences are unified around Forms; Aristotle says they're unified around substance [Aristotle, by Moravcsik] |
| Full Idea: Plato's unity of science principle states that all - legitimate - sciences are ultimately about the Forms. Aristotle's principle states that all sciences must be, ultimately, about substances, or aspects of substances. | |
| From: report of Aristotle (works [c.330 BCE], 1) by Julius Moravcsik - Aristotle on Adequate Explanations 1 |
| 11243 | Aristotelian explanations are facts, while modern explanations depend on human conceptions [Aristotle, by Politis] |
| Full Idea: For Aristotle things which explain (the explanantia) are facts, which should not be associated with the modern view that says explanations are dependent on how we conceive and describe the world (where causes are independent of us). | |
| From: report of Aristotle (works [c.330 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 2.1 | |
| A reaction: There must be some room in modern thought for the Aristotelian view, if some sort of robust scientific realism is being maintained against the highly linguistic view of philosophy found in the twentieth century. |
| 3320 | Aristotle's standard analysis of species and genus involves specifying things in terms of something more general [Aristotle, by Benardete,JA] |
| Full Idea: The standard Aristotelian doctrine of species and genus in the theory of anything whatever involves specifying what the thing is in terms of something more general. | |
| From: report of Aristotle (works [c.330 BCE]) by José A. Benardete - Metaphysics: the logical approach Ch.10 |
| 12000 | Aristotle regularly says that essential properties explain other significant properties [Aristotle, by Kung] |
| Full Idea: The view that essential properties are those in virtue of which other significant properties of the subjects under investigation can be explained is encountered repeatedly in Aristotle's work. | |
| From: report of Aristotle (works [c.330 BCE]) by Joan Kung - Aristotle on Essence and Explanation IV | |
| A reaction: What does 'significant' mean here? I take it that the significant properties are the ones which explain the role, function and powers of the object. |
| 23300 | Aristotle and the Stoics denied rationality to animals, while Platonists affirmed it [Aristotle, by Sorabji] |
| Full Idea: Aristotle, and also the Stoics, denied rationality to animals. …The Platonists, the Pythagoreans, and some more independent Aristotelians, did grant reason and intellect to animals. | |
| From: report of Aristotle (works [c.330 BCE]) by Richard Sorabji - Rationality 'Denial' | |
| A reaction: This is not the same as affirming or denying their consciousness. The debate depends on how rationality is conceived. |
| 11240 | The notion of analytic truth is absent in Aristotle [Aristotle, by Politis] |
| Full Idea: The notion of analytic truth is conspicuously absent in Aristotle. | |
| From: report of Aristotle (works [c.330 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 1.5 | |
| A reaction: Cf. Idea 11239. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 6559 | Aristotle never actually says that man is a rational animal [Aristotle, by Fogelin] |
| Full Idea: To the best of my knowledge (and somewhat to my surprise), Aristotle never actually says that man is a rational animal; however, he all but says it. | |
| From: report of Aristotle (works [c.330 BCE]) by Robert Fogelin - Walking the Tightrope of Reason Ch.1 | |
| A reaction: When I read this I thought that this database would prove Fogelin wrong, but it actually supports him, as I can't find it in Aristotle either. Descartes refers to it in Med.Two. In Idea 5133 Aristotle does say that man is a 'social being'. But 22586! |
| 11150 | It is the mark of an educated mind to be able to entertain an idea without accepting it [Aristotle] |
| Full Idea: It is the mark of an educated mind to be able to entertain an idea without accepting it. | |
| From: Aristotle (works [c.330 BCE]) | |
| A reaction: The epigraph on a David Chalmers website. A wonderful remark, and it should be on the wall of every beginners' philosophy class. However, while it is in the spirit of Aristotle, it appears to be a misattribution with no ancient provenance. |
| 3037 | Aristotle said the educated were superior to the uneducated as the living are to the dead [Aristotle, by Diog. Laertius] |
| Full Idea: Aristotle was asked how much educated men were superior to those uneducated; "As much," he said, "as the living are to the dead." | |
| From: report of Aristotle (works [c.330 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 05.1.11 |
| 8660 | There are potential infinities (never running out), but actual infinity is incoherent [Aristotle, by Friend] |
| Full Idea: Aristotle developed his own distinction between potential infinity (never running out) and actual infinity (there being a collection of an actual infinite number of things, such as places, times, objects). He decided that actual infinity was incoherent. | |
| From: report of Aristotle (works [c.330 BCE]) by Michèle Friend - Introducing the Philosophy of Mathematics 1.3 | |
| A reaction: Friend argues, plausibly, that this won't do, since potential infinity doesn't make much sense if there is not an actual infinity of things to supply the demand. It seems to just illustrate how boggling and uncongenial infinity was to Aristotle. |
| 12058 | Aristotle's matter can become any other kind of matter [Aristotle, by Wiggins] |
| Full Idea: Aristotle's conception of matter permits any kind of matter to become any other kind of matter. | |
| From: report of Aristotle (works [c.330 BCE]) by David Wiggins - Substance 4.11.2 | |
| A reaction: This is obviously crucial background information when we read Aristotle on matter. Our 92+ elements, and fixed fundamental particles, gives a quite different picture. Aristotle would discuss form and matter quite differently now. |
| 22729 | The concepts of gods arose from observing the soul, and the cosmos [Aristotle, by Sext.Empiricus] |
| Full Idea: Aristotle said that the conception of gods arose among mankind from two originating causes, namely from events which concern the soul and from celestial phenomena. | |
| From: report of Aristotle (works [c.330 BCE], Frag 10) by Sextus Empiricus - Against the Physicists (two books) I.20 | |
| A reaction: The cosmos suggests order, and possible creation. What do events of the soul suggest? It doesn't seem to be its non-physical nature, because Aristotle is more of a functionalist. Puzzling. (It says later that gods are like the soul). |