12 ideas
| 12177 | Human artefacts may have essences, in their purposes [Popper] |
| Full Idea: One might adopt the view that certain things of our own making, such as clocks, may well be said to have 'essences', viz. their 'purposes', and what makes them serve these purposes. | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3 n17) | |
| A reaction: This is from one of the arch-opponents of essentialism. Could we take him on a slippery slope into essences for evolved creatures, or their organs? His argument says admitting an essence for a clock prevents using it for another purpose. |
| 12176 | Science does not aim at ultimate explanations [Popper] |
| Full Idea: I contest the essentialist doctrine that science aims at ultimate explanations, one which cannot be further explained, and which is in no need of any further explanation. | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3) | |
| A reaction: If explanations are causal, this seems to a plea for an infinite regress of causes, which is an odd thing to espouse. Are the explanations verbal descriptions or things in the world. There can be no perfect descriptions, but there may be ultimate things. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 12175 | Galilean science aimed at true essences, as the ultimate explanations [Popper] |
| Full Idea: The third of the Galilean doctrines of science is that the best, the truly scientific theories, describe the 'essences' or the 'essential natures' of things - the realities which lie behind the appearances. They are ultimate explanations. | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3) | |
| A reaction: This seems to be the seventeenth century doctrine which was undermined by Humeanism, and hence despised by Popper, but is now making a comeback, with a new account of essence and necessity. |
| 12179 | Essentialist views of science prevent further questions from being raised [Popper] |
| Full Idea: The essentialist view of Newton (due to Roger Cotes) ...prevented fruitful questions from being raised, such as, 'What is the cause of gravity?' or 'Can we deduce Newton's theory from a more general independent theory?' | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3) | |
| A reaction: This is Popper's main (and only) objection to essentialism - that it is committed to ultimate explanations, and smugly terminates science when it thinks it has found them. This does not strike me as a problem with scientific essentialism. |