12 ideas
| 8207 | The quest for simplicity drove scientists to posit new entities, such as molecules in gases [Quine] |
| Full Idea: It is the quest for system and simplicity that has kept driving the scientist to posit further entities as values of his variables. By positing molecules, Boyles' law of gases could be assimilated into a general theory of bodies in motion. | |
| From: Willard Quine (On Multiplying Entities [1974], p.262) | |
| A reaction: Interesting that a desire for simplicity might lead to multiplications of entities. In fact, I presume molecules had been proposed elsewhere in science, and were adopted in gas-theory because they were thought to exist, not because simplicity is nice. |
| 8208 | In arithmetic, ratios, negatives, irrationals and imaginaries were created in order to generalise [Quine] |
| Full Idea: In classical arithmetic, ratios were posited to make division generally applicable, negative numbers to make subtraction generally applicable, and irrationals and finally imaginaries to make exponentiation generally applicable. | |
| From: Willard Quine (On Multiplying Entities [1974], p.263) | |
| A reaction: This is part of Quine's proposal (c.f. Idea 8207) that entities have to be multiplied in order to produce simplicity. He is speculating. Maybe they are proposed because they are just obvious, and the generality is a nice side-effect. |
| 8205 | Explaining events just by bodies can't explain two events identical in space-time [Quine] |
| Full Idea: An account of events just in terms of physical bodies does not distinguish between events that happen to take up just the same portion of space-time. A man's whistling and walking would be identified with the same temporal segment of the man. | |
| From: Willard Quine (On Multiplying Entities [1974], p.260) | |
| A reaction: We wouldn't want to make his 'walking' and his 'strolling' two events. Whistling and walking are different because different objects are involved (lips and legs). Hence a man is not (ontologically) a single object. |
| 8206 | Necessity could be just generalisation over classes, or (maybe) quantifying over possibilia [Quine] |
| Full Idea: The need to add a note of necessity to 'all black crows are black' could be met by a generalisation over classes (what belongs to sets x and y belongs to y), or maybe be quantifying over possible particulars. | |
| From: Willard Quine (On Multiplying Entities [1974], p.262) | |
| A reaction: He dislikes the second strategy because 'unactualized particulars are an obscure and troublesome lot'. The second is the strategy of Lewis. I think necessity starts to creep back in as soon as you ask WHY a generalisation holds true. |
| 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? |