26 ideas
| 15585 | Later Heidegger sees philosophy as more like poetry than like science [Heidegger, by Polt] |
| Full Idea: In his later work Heidegger came to view philosophy as closer to poetry than to science. | |
| From: report of Martin Heidegger (The Origin of the Work of Art [1935], p.178) by Richard Polt - Heidegger: an introduction 5 'Signs' |
| 14018 | Is Sufficient Reason self-refuting (no reason to accept it!), or is it a legitimate explanatory tool? [Bourne] |
| Full Idea: Mackie (1983) dismisses the Principle of Sufficient Reason quickly, arguing that it is self-refuting: there is no sufficient reason to accept it. However, a principle is not invalidated by not applying to itself; it can be a powerful heuristic tool. | |
| From: Craig Bourne (A Future for Presentism [2006], 6.VI) | |
| A reaction: If God was entirely rational, and created everything, that would be a sufficient reason to accept the principle. You would never, though, get to the reason why God was entirely rational. Something will always elude the principle. |
| 14008 | The redundancy theory conflates metalinguistic bivalence with object-language excluded middle [Bourne] |
| Full Idea: The problem with the redundancy theory of truth is that it conflates the metalinguistic notion of bivalence with a theorem of the object language, namely the law of excluded middle. | |
| From: Craig Bourne (A Future for Presentism [2006], 3.III Pr3) |
| 14010 | All relations between spatio-temporal objects are either spatio-temporal, or causal [Bourne] |
| Full Idea: If there are any genuine relations at all between spatio-temporal objects, then they are all either spatio-temporal or causal. | |
| From: Craig Bourne (A Future for Presentism [2006], 3.III Pr4) | |
| A reaction: This sounds too easy, but I have wracked my brains for counterexamples and failed to find any. How about qualitative relations? |
| 14009 | It is a necessary condition for the existence of relations that both of the relata exist [Bourne] |
| Full Idea: It is widely held, and I think correctly so, that a necessary condition for the existence of relations is that both of the relata exist. | |
| From: Craig Bourne (A Future for Presentism [2006], 3.III Pr4) | |
| A reaction: This is either trivial or false. Relations in the actual world self-evidently relate components of it. But I seem able to revere Sherlock Holmes, and speculate about relations between possible entities. |
| 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. |
| 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. |
| 14016 | The idea of simultaneity in Special Relativity is full of verificationist assumptions [Bourne] |
| Full Idea: Special Relativity, with its definition of simultaneity, is shot through with verificationist assumptions. | |
| From: Craig Bourne (A Future for Presentism [2006], 6.IIc) | |
| A reaction: [He credits Sklar with this] I love hearing such points made, because all my instincts have rebelled against Einstein's story, even after I have been repeatedly told how stupid I am, and how I should study more maths etc. |
| 14019 | Relativity denies simultaneity, so it needs past, present and future (unlike Presentism) [Bourne] |
| Full Idea: Special Relativity denies absolute simultaneity, and therefore requires a past and a future, as well as a present. The Presentist, however, only requires the present. | |
| From: Craig Bourne (A Future for Presentism [2006], 6.VII) | |
| A reaction: It is nice to accuse Relativity of ontological extravagence. When it 'requires' past and future, that may not be a massive commitment, since the whole theory is fairly operationalist, according to Putnam. |
| 14013 | Special Relativity allows an absolute past, future, elsewhere and simultaneity [Bourne] |
| Full Idea: There is in special relativity a notion of 'absolute past', and of 'absolute future', and of 'absolute elsewhere', and of 'absolute simultaneity' (of events occurring at their space-time conjunction). | |
| From: Craig Bourne (A Future for Presentism [2006], 5.III) | |
| A reaction: [My summary of his paragraph] I am inclined to agree with Bourne that there is enough here to build some sort of notion of 'present' that will support the doctrine of Presentism. |
| 14015 | No-Futurists believe in past and present, but not future, and say the world grows as facts increase [Bourne] |
| Full Idea: 'No-Futurists' believe in the real existence of the past and present but not the future, and hold that the world grows as more and more facts come into existence. | |
| From: Craig Bourne (A Future for Presentism [2006], 6.IIb) | |
| A reaction: [He cites Broad 1923 and Tooley 1997] My sympathies are with Presentism, but there seems not denying that past events fix truths in a way that future events don't. The unchangeability of past events seems to make them factual. |
| 14007 | How can presentists talk of 'earlier than', and distinguish past from future? [Bourne] |
| Full Idea: Presentists have a difficulty with how they can help themselves to the notion of 'earlier than' without having to invoke real relata, and how presentism can distinguish the past from the future. | |
| From: Craig Bourne (A Future for Presentism [2006], 2.IV) | |
| A reaction: The obvious response is to infer the past from the present (fossils), and infer the future from the present (ticking bomb). But what is it that is being inferred, if the past and future are denied a priori? Tricky! |
| 14011 | Presentism seems to deny causation, because the cause and the effect can never coexist [Bourne] |
| Full Idea: It seems that presentism cannot accommodate causation at all. In a true instance of 'c causes e', it seems to follow that both c and e exist, and it is widely accepted that c is earlier than e. But for presentists that means c and e can't coexist. | |
| From: Craig Bourne (A Future for Presentism [2006], 4) | |
| A reaction: A nice problem. Obviously if the flying ball smashed the window, we are left with only the effect existing - otherwise we could intercept the ball and prevent the disaster. To say this cause and this effect coexist would be even dafter than the problem. |
| 14017 | Since presentists treat the presentness of events as basic, simultaneity should be define by that means [Bourne] |
| Full Idea: Since for presentism there is an ontologically significant and basic sense in which events are present, we should expect a definition of simultaneity in terms of presentness, rather than the other way round. | |
| From: Craig Bourne (A Future for Presentism [2006], 6.IV) | |
| A reaction: Love it. I don't see how you can even articulate questions about simultaneity if you don't already have a notion of presentness. What are the relata you are enquiring about? |
| 14003 | Time is tensed or tenseless; the latter says all times and objects are real, and there is no passage of time [Bourne] |
| Full Idea: Theories of time are in two broad categories, the tenseless and the tensed theories. In tenseless theories, all times are equally real, as are all objects located at them, and there is no passage of time from future to present to past. It's the B-series. | |
| From: Craig Bourne (A Future for Presentism [2006], Intro IIa) | |
| A reaction: It might solve a few of the problems, but is highly counterintuitive. Presumably it makes the passage of time an illusion, and gives no account of how events 'happen', or of their direction, and it leaves causation out on a limb. I'm afraid not. |
| 14005 | B-series objects relate to each other; A-series objects relate to the present [Bourne] |
| Full Idea: Objects in the B-series are earlier than, later than, or simultaneous with each other, whereas objects in the A-series are earlier than, later than or simultaneous with the present. | |
| From: Craig Bourne (A Future for Presentism [2006], Intro IIb) | |
| A reaction: Must we choose? Two past events relate to each other, but there is a further relation when 'now' falls between the events. If I must choose, I suppose I go for the A-series view. The B-series is a subsequent feat of imagination. McTaggart agreed. |
| 14006 | Time flows, past is fixed, future is open, future is feared but not past, we remember past, we plan future [Bourne] |
| Full Idea: We say that time 'flows', that the past is 'fixed' but the future is 'open'; we only dread the future, but not the past; we remember the past but not the future; we plan for the future but not the past. | |
| From: Craig Bourne (A Future for Presentism [2006], Intro III) | |
| A reaction: These seem pretty overwhelming reasons for accepting an asymmetry between the past and the future. If you reject that, you seem to be mired in a multitude of contradictions. Your error theory is going to be massive. |