35 ideas
| 5784 | In its primary and formal sense, 'true' applies to propositions, not beliefs [Russell] |
| Full Idea: We call a belief true when it is belief in a true proposition, ..but it is to propositions that the primary formal meanings of 'truth' and 'falsehood' apply. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], §IV) | |
| A reaction: I think this is wrong. A proposition such as 'it is raining' would need a date-and-time stamp to be a candidate for truth, and an indexical statement such as 'I am ill' would need to be asserted by a person. Of course, books can contain unread truths. |
| 5777 | The truth or falsehood of a belief depends upon a fact to which the belief 'refers' [Russell] |
| Full Idea: I take it as evident that the truth or falsehood of a belief depends upon a fact to which the belief 'refers'. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], p.285) | |
| A reaction: A nice bold commitment to a controversial idea. The traditional objection is to ask how you are going to formulate the 'facts' except in terms of more beliefs, so you ending up comparing beliefs. Facts are a metaphysical commitment, not an acquaintance. |
| 5783 | Propositions of existence, generalities, disjunctions and hypotheticals make correspondence tricky [Russell] |
| Full Idea: The correspondence of proposition and fact grows increasingly complicated as we pass to more complicated types of propositions: existence-propositions, general propositions, disjunctive and hypothetical propositions, and so on. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], §IV) | |
| A reaction: An important point. Truth must not just work for 'it is raining', but also for maths, logic, tautologies, laws etc. This is why so many modern philosophers have retreated to deflationary and minimal accounts of truth, which will cover all cases. |
| 2526 | Philosophers regularly confuse failures of imagination with insights into necessity [Dennett] |
| Full Idea: The besetting foible of philosophers is mistaking failures of imagination for insights into necessity. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.25) |
| 5780 | The three questions about belief are its contents, its success, and its character [Russell] |
| Full Idea: There are three issues about belief: 1) the content which is believed, 2) the relation of the content to its 'objective' - the fact which makes it true or false, and 3) the element which is belief, as opposed to consideration or doubt or desire. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], §III) | |
| A reaction: The correct answers to the questions (trust me) are that propositions are the contents, the relation aimed at is truth, which is a 'metaphysical ideal' of correspondence to facts, and belief itself is an indefinable feeling. See Hume, Idea 2208. |
| 2523 | That every mammal has a mother is a secure reality, but without foundations [Dennett] |
| Full Idea: Naturalistic philosophers should look with favour on the finite regress that peters out without foundations or thresholds or essences. That every mammal has a mother does not imply an infinite regress. Mammals have secure reality without foundations. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.25) | |
| A reaction: I love this thought, which has permeated my thinking quite extensively. Logicians are terrified of regresses, but this may be because they haven't understood the vagueness of language. |
| 2528 | Does consciousness need the concept of consciousness? [Dennett] |
| Full Idea: You can't have consciousness until you have the concept of consciousness. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.6) | |
| A reaction: If you read enough Dennett this begins to sound vaguely plausible, but next day it sounds like an absurd claim. 'You can't see a tree until you have the concept of a tree?' When do children acquire the concept of consciousness? Are apes non-conscious? |
| 2525 | Maybe language is crucial to consciousness [Dennett] |
| Full Idea: I continue to argue for a crucial role of natural language in generating the central features of consciousness. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.25) | |
| A reaction: 'Central features' might beg the question. Dennett does doubt the consciousness of animals (1996). As I stare out of my window, his proposal seems deeply counterintuitive. How could language 'generate' consciousness? Would loss of language create zombies? |
| 2527 | Unconscious intentionality is the foundation of the mind [Dennett] |
| Full Idea: It is on the foundation of unconscious intentionality that the higher-order complexities developed that have culminated in what we call consciousness. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.25) | |
| A reaction: Sounds right to me. Pace Searle, I have no problem with unconscious intentionality, and the general homuncular picture of low levels building up to complex high levels, which suddenly burst into the song and dance of consciousness. |
| 5778 | If we object to all data which is 'introspective' we will cease to believe in toothaches [Russell] |
| Full Idea: If privacy is the main objection to introspective data, we shall have to include among such data all sensations; a toothache, for example, is essentially private; a dentist may see the bad condition of your tooth, but does not feel your ache. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], §II) | |
| A reaction: Russell was perhaps the first to see why eliminative behaviourism is a non-starter as a theory of mind. Mental states are clearly a cause of behaviour, so they can't be the same thing. We might 'eliminate' mental states by reducing them, though. |
| 2530 | Could a robot be made conscious just by software? [Dennett] |
| Full Idea: How could you make a robot conscious? The answer, I think, is to be found in software. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.6) | |
| A reaction: This seems to be a commitment to strong AI, though Dennett is keen to point out that brains are the only plausible implementation of such software. Most find his claim baffling. |
| 5779 | There are distinct sets of psychological and physical causal laws [Russell] |
| Full Idea: There do seem to be psychological and physical causal laws which are distinct from each other. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], §II) | |
| A reaction: This sounds like the essence of 'property dualism'. Reductive physicalists (like myself) say there is no distinction. Davidson, usually considered a property dualist, claims there are no psycho-physical laws. Russell notes that reduction may be possible. |
| 2524 | A language of thought doesn't explain content [Dennett] |
| Full Idea: Postulating a language of thought is a postponement of the central problems of content ascription, not a necessary first step. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.25) | |
| A reaction: If the idea of content is built on the idea of representation, then you need some account of what the brain does with its representations. |
| 2529 | Maybe there can be non-conscious concepts (e.g. in bees) [Dennett] |
| Full Idea: Concepts do not require consciousness. As Jaynes says, the bee has a concept of a flower, but not a conscious concept. | |
| From: Daniel C. Dennett (Brainchildren [1998], Ch.6) | |
| A reaction: Does the flower have a concept of rain? Rain plays a big functional role in its existence. It depends, alas, on what we mean by a 'concept'. |
| 5781 | Our important beliefs all, if put into words, take the form of propositions [Russell] |
| Full Idea: The important beliefs, even if they are not the only ones, are those which, if rendered into explicit words, take the form of a proposition. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], §III) | |
| A reaction: This assertion is close to the heart of the twentieth century linking of ontology and epistemology to language. It is open to challenges. Why is non-propositional belief unimportant? Do dogs have important beliefs? Can propositions exist non-verbally? |
| 5782 | A proposition expressed in words is a 'word-proposition', and one of images an 'image-proposition' [Russell] |
| Full Idea: I shall distinguish a proposition expressed in words as a 'word-proposition', and one consisting of images as an 'image-proposition'. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], §III) | |
| A reaction: This, I think, is good, though it raises the question of what exactly an 'image' is when it is non-visual, as when a dog believes its owner called. This distinction prevents us from regarding all knowledge and ontology as verbal in form. |
| 5776 | A proposition is what we believe when we believe truly or falsely [Russell] |
| Full Idea: A proposition may be defined as: what we believe when we believe truly or falsely. | |
| From: Bertrand Russell (On Propositions: What they are, and Meaning [1919], p.285) | |
| A reaction: If we define belief as 'commitment to truth', Russell's last six words become redundant. "Propositions are the contents of beliefs", it being beliefs which are candidates for truth, not propositions. (Russell agrees, on p.308!) |
| 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. |
| 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? |