39 ideas
| 16588 | I prefer a lack of form to mean non-existence, than to think of some quasi-existence [Augustine] |
| Full Idea: I sooner judged that what lacks all form does not exist, than thought of as something in between form and nothing, neither formed nor nothing, unformed and next to nothing. | |
| From: Augustine (Confessions [c.398], XII.6), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 03.1 | |
| A reaction: Scholastics were struck by the contrast between this remark, and the remark of Averroes (Idea 16587) that prime matter was halfway existence. Their two great authorities disagreed! This sort of thing stimulated the revival of metaphysics. |
| 22979 | Three main questions seem to be whether a thing is, what it is, and what sort it is [Augustine] |
| Full Idea: I am told that I can ask three sorts of questions - whether a thing is, what it is, and what sort it is. | |
| From: Augustine (Confessions [c.398], X.10) | |
| A reaction: This seems to be a very Aristotelian approach. I am pleased to see that what it is and what sort it is are not conflated. The first one must be its individual essence, and the second its generic essence. |
| 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) |
| 22977 | I can distinguish different smells even when I am not experiencing them [Augustine] |
| Full Idea: I can distinguish the scent of lilies from that of violets, even though there is no scent at all in my nostrils. | |
| From: Augustine (Confessions [c.398], X.08) | |
| A reaction: Augustine has a nice introspective account of how we experience memory, and identifies lots of puzzling features. I know I can identify the smell of vinegar, but I can't bring it to mind, the way I can the appearance of roses. |
| 22982 | Why does joy in my mind make me happy, but joy in my memory doesn't? [Augustine] |
| Full Idea: How can it be that my mind can be happy because of the joy that is in it, and yet my memory is not sad by reason of the sadness that is in it? | |
| From: Augustine (Confessions [c.398], X.14) | |
| A reaction: This seems to contradict his thought in Idea 22981, that memory and mind are the same. Recall seems to be a part of consciousness which is not fully wired up to the rest of the mind. |
| 22981 | Mind and memory are the same, as shown in 'bear it in mind' or 'it slipped from mind' [Augustine] |
| Full Idea: The mind and the memory are one and the same. We even call the memory the mind, for when we tell a person to remember something, we tell them to 'bear this in mind', and when we forget something 'it slipped out of my mind'. | |
| From: Augustine (Confessions [c.398], X.14) | |
| A reaction: This idea has become familiar in modern neuroscience, I think, presumably because we do not find distinct types of neurons for consciousness and for memory. |
| 22980 | Memory contains innumerable principles of maths, as well as past sense experiences [Augustine] |
| Full Idea: The memory contains the innumerable principles and laws of numbers and dimensions. None of these can have been conveyed to me by the bodily senses. | |
| From: Augustine (Confessions [c.398], X.12) | |
| A reaction: Even if you have a fairly empirical view of the sources of mathematics (a view with which I sympathise), it must by admitted that our endless extrapolations from the sources also reside in memory. So we remember thoughts as well as experiences. |
| 22983 | We would avoid remembering sorrow or fear if that triggered the emotions afresh [Augustine] |
| Full Idea: If we had to experience sorrow or fear every time that we mentioned these emotions, no one would be willing to speak of them. | |
| From: Augustine (Confessions [c.398], X.14) | |
| A reaction: Remembering the death of a loved one can trigger fresh grief, but remembering their dangerous illness from which they recovered no longer contains the feeling of fear. |
| 22978 | Memory is so vast that I cannot recognise it as part of my mind [Augustine] |
| Full Idea: The memory is a vast immeasurable sanctuary. It is part of my nature, but I cannot understand all that I am. Hence the mind is too narrow to contain itself entirely. Is the other part outside of itself, and not within it? How then can it be a part? | |
| From: Augustine (Confessions [c.398], X.08) | |
| A reaction: He seems to understand the mind as entirely consisting of consciousness. Nevertheless, this seems to be the first inklings of the modern externalist view of the mind. |
| 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. |
| 22984 | Without memory I could not even speak of myself [Augustine] |
| Full Idea: I do not understand the power of memory that is in myself, although without it I could not even speak of myself. | |
| From: Augustine (Confessions [c.398], X.16) | |
| A reaction: Even if the self is not identical with memory, this idea seems to establish that memory is an essential aspect of the self. This point is neglected by those who see the self as an entity (the 'soul pearl') which persists through all experience. |
| 3447 | All theory is against free will, and all experience is in favour of it [Johnson,S] |
| Full Idea: All theory is against free will, and all experience is in favour of it. | |
| From: Samuel Johnson (works [1770]), quoted by PG - Db (ideas) |
| 5982 | If the future does not exist, how can prophets see it? [Augustine] |
| Full Idea: How do prophets see the future, if there is not a future to be seen? | |
| From: Augustine (Confessions [c.398], XI.17) | |
| A reaction: The answer, I suspect, is that prophets can't see the future. The prospect that the future already exists would seem to saboutage human freedom and responsibility, and point to Calvinist predestination, and even fatalism. |
| 22976 | Memories are preserved separately, according to category [Augustine] |
| Full Idea: In memory everything is preserved separately, according to its category. | |
| From: Augustine (Confessions [c.398], X.08) | |
| A reaction: This strikes me as the first seeds of the idea that the mind functions by means of mental files. Our memories of cats are 'close to' or 'linked to' our memories of dogs. |
| 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. |
| 22985 | Everyone wants happiness [Augustine] |
| Full Idea: Surely happiness is what everyone wants, so much so that there can be none who do not want it? | |
| From: Augustine (Confessions [c.398], X.20) | |
| A reaction: His concept of happiness is, of course, religious. Occasionally you meet habitual grumblers about life who give the impression that they are only happy when they are discontented. So happiness is achieving desires, not feeling good? |
| 5984 | Maybe time is an extension of the mind [Augustine] |
| Full Idea: I begin to wonder whether time is an extension of the mind itself. | |
| From: Augustine (Confessions [c.398], XI.26) | |
| A reaction: The observation that the mind creates a 'specious present' (spreading experience out over a short fraction of second) reinforces this. Personally I like David Marshall's proposal that consciousness is entirely memory, which would deny this idea. |
| 22888 | To be aware of time it can only exist in the mind, as memory or anticipation [Augustine, by Bardon] |
| Full Idea: Augustine answers that for us to be aware of time it must exist only in the mind, …and the difference between past and future is just the difference between memory and anticipation. | |
| From: report of Augustine (Confessions [c.398]) by Adrian Bardon - Brief History of the Philosophy of Time 1 'Augustine's' | |
| A reaction: This is an extreme idealist view. Are we to say that the past consists only of what can be remembered, and the future only of what is anticipated? Absurd anti-realism, in my view. Where do his concepts come from, asks Le Poidevin. |
| 5980 | How can ten days ahead be a short time, if it doesn't exist? [Augustine] |
| Full Idea: A short time ago or a short time ahead we might put at ten days, but how can anything which does not exist be either long or short? | |
| From: Augustine (Confessions [c.398], XI.15) | |
| A reaction: A nice question, which gets at the paradoxical nature of time very nicely. How can it be long, but non-existent? We could break the paradox by concluding '..and therefore time does exist', even though we can't see how. |
| 5979 | If the past is no longer, and the future is not yet, how can they exist? [Augustine] |
| Full Idea: Of the three divisions of time, how can two, the past and the future, be, when the past no longer is, and the future is not yet? | |
| From: Augustine (Confessions [c.398], XI.14) | |
| A reaction: This is the oldest bewilderment about time, which naturally leads us to the thought that time cannot actually 'exist'. The remark implies that at least 'now' is safe, but that also succumbs to paradox pretty quickly. |
| 5981 | The whole of the current year is not present, so how can it exist? [Augustine] |
| Full Idea: We cannot say that the whole of the current year is present, and if the whole of it is not present, the year is not present. | |
| From: Augustine (Confessions [c.398], XI.15) | |
| A reaction: Another nice way of presenting the paradox of time. We are in a particular year, so it has to be real. |
| 5978 | I know what time is, until someone asks me to explain it [Augustine] |
| Full Idea: I know well enough what time is, provided that nobody asks me; but if I am asked what it is and try to explain, I am baffled. | |
| From: Augustine (Confessions [c.398], XI.14) | |
| A reaction: A justly famous remark, even though it adds nothing to our knowledge of time. This sort of thought pushes us towards accepting many things as axiomatic, such as time, space, identity, persons, mind. |
| 5983 | I disagree with the idea that time is nothing but cosmic movement [Augustine] |
| Full Idea: I once heard a learned man say that time is nothing but the movement of the sun and the moon and the stars, but I do not agree. | |
| From: Augustine (Confessions [c.398], XI.22) | |
| A reaction: It is tempting to say that you either take time or movement as axiomatic, and describe one in terms of the other, but you are stuck unable to give the initial statement of the axiom without mentioning the second property you were saving for later. |
| 5977 | Heaven and earth must be created, because they are subject to change [Augustine] |
| Full Idea: The fact that heaven and earth are there proclaims that they were created, for they are subject to change and variation; ..the meaning of change and variation is that something is there which was not there before. | |
| From: Augustine (Confessions [c.398], XI.04) | |
| A reaction: It seems possible that the underlying matter is eternal (as in various conservation laws, such as that of energy), and that all change is in the form rather than the substance. |
| 22887 | If God existed before creation, why would a perfect being desire to change things? [Augustine, by Bardon] |
| Full Idea: If nothing existed by God before creation, then what could have happened to, or within, God that led God to decide to create the universe at that particular moment? Why would an eternal or perfect being want or need to change? | |
| From: report of Augustine (Confessions [c.398]) by Adrian Bardon - Brief History of the Philosophy of Time 1 'Augustine's' | |
| A reaction: I suppose you could reply that change is superior to stasis, but then why did God delay the creation? |
| 5976 | If God is outside time in eternity, can He hear prayers? [Augustine] |
| Full Idea: O Lord, since you are outside time in eternity, are you unaware of the things that I tell you? | |
| From: Augustine (Confessions [c.398], XI.01) | |
| A reaction: This strikes me as the single most difficult and most elusive question about the nature of a supreme divine being. If the being is trapped in time, as we are, it is greatly diminished, and if it is outside, it is hard to see how it could be a participant. |