44 ideas
| 8833 | Why should we prefer coherent beliefs? [Klein,P] |
| Full Idea: A key question for a coherentist is, why should he or she adopt a coherent set of beliefs rather than an incoherent set? | |
| From: Peter Klein (Infinitism solution to regress problem [2005], 'Step 1') | |
| A reaction: The point of the question is that the coherentist may have to revert to other criteria in answering it. One could equally ask, why should I believe in tables just because I vividly experience them? Or, why believe 2+2=4, just because it is obvious? |
| 458 | Nothing could come out of nothing, and existence could never completely cease [Empedocles] |
| Full Idea: From what in no wise exists, it is impossible for anything to come into being; for Being to perish completely is incapable of fulfilment and unthinkable. | |
| From: Empedocles (fragments/reports [c.453 BCE], B012), quoted by Anon (Lyc) - On Melissus 975b1-4 |
| 5112 | Empedocles says things are at rest, unless love unites them, or hatred splits them [Empedocles, by Aristotle] |
| Full Idea: Empedocles claims that things are alternately changing and at rest - that they are changing whenever love is creating a unity out of plurality, or hatred is creating plurality out of unity, and they are at rest in the times in between. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Physics 250b26 | |
| A reaction: I suppose one must say that this an example of Ruskin's 'pathetic fallacy' - reading human emotions into the cosmos. Being constructive little creatures, we think goodness leads to construction. I'm afraid Empedocles is just wrong. |
| 13209 | There is no coming-to-be of anything, but only mixing and separating [Empedocles, by Aristotle] |
| Full Idea: Empedocles says there is no coming-to-be of anything, but only a mingling and a divorce of what has been mingled. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 314b08 | |
| A reaction: Aristotle comments that this prevents Empedocleans from distinguishing between superficial alteration and fundamental change of identity. Presumably, though, that wouldn't bother them. |
| 457 | Substance is not created or destroyed in mortals, but there is only mixing and exchange [Empedocles] |
| Full Idea: There is no creation of substance in any one of mortal existence, nor any end in execrable death, but only mixing and exchange of what has been mixed. | |
| From: Empedocles (fragments/reports [c.453 BCE], B008), quoted by Plutarch - 74: Reply to Colotes 1111f | |
| A reaction: also Aristotle 314b08 |
| 8834 | Infinitism avoids a regress, circularity or arbitrariness, by saying warrant just increases [Klein,P] |
| Full Idea: Infinitism can solve the regress problem, because it endorses a warrant-emergent form of reasoning in which warrant increases as the series of reasons lengthens. The theory can avoid both circularity and arbitrariness. | |
| From: Peter Klein (Infinitism solution to regress problem [2005], 'Step 2') | |
| A reaction: It nicely avoids arbitrariness by offering a reason for absolutely every belief. I think the way to go may to combine individual Infinitism with a social account of where to set the bar of acceptable justification. |
| 8838 | If justification is endless, no link in the chain is ultimately justified [Ginet on Klein,P] |
| Full Idea: An endless chain of inferential justifications can never ultimately explain why any link in the chain is justified. | |
| From: comment on Peter Klein (Infinitism solution to regress problem [2005]) by Carl Ginet - Infinitism not solution to regress problem p.148 | |
| A reaction: This strikes me as a mere yearning for foundations. I don't see sense-experience or the natural light of human reason (or the word of God, for that matter) as in any way 'ultimate'. It's all evidence to be evaluated. |
| 8839 | Reasons acquire warrant through being part of a lengthening series [Klein,P] |
| Full Idea: The infinitist holds that finding a reason, and then another reason for that reason, places it at the beginning of a series where each gains warrant as part of the series. ..Rational credibility increases as the series lengthens. | |
| From: Peter Klein (Infinitism solution to regress problem [2005], p.137) | |
| A reaction: A striking problem here for Klein is the status of the first reason, prior to it being supported by a series. Surprisingly, it seems that it would not yet be a justification. Coherence accounts have the same problem, if coherence is the only criterion. |
| 462 | One vision is produced by both eyes [Empedocles] |
| Full Idea: One vision is produced by both eyes | |
| From: Empedocles (fragments/reports [c.453 BCE], B088), quoted by Strabo - works 8.364.3 |
| 22765 | Wisdom and thought are shared by all things [Empedocles] |
| Full Idea: Wisdom and power of thought, know thou, are shared in by all things. | |
| From: Empedocles (fragments/reports [c.453 BCE]), quoted by Sextus Empiricus - Against the Logicians (two books) II.286 | |
| A reaction: Sextus quotes this, saying that it is 'still more paradoxical', and that it explicitly includes plants. This may mean that Empedocles was not including inanimate matter. |
| 1524 | For Empedocles thinking is almost identical to perception [Empedocles, by Theophrastus] |
| Full Idea: Empedocles assumes that thinking is either identical to or very similar to sense-perception. | |
| From: report of Empedocles (fragments/reports [c.453 BCE], A86) by Theophrastus - On the Senses 9 | |
| A reaction: Not to be sniffed at. We can, of course, control our thinking (though we can't control the controller) and we contemplate abstractions, but that might be seen as a sort of perception. Vision is not as visual as we think. |
| 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. |
| 552 | Empedocles said good and evil were the basic principles [Empedocles, by Aristotle] |
| Full Idea: Empedocles was the first to give evil and good as principles. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Metaphysics 985a | |
| A reaction: Once you start to think that good and evil will only matter if they have causal powers, it is an easy step to the idea of a benevolent god, and a satanic anti-god. Otherwise the 'principles' could be ignored. |
| 589 | 'Nature' is just a word invented by people [Empedocles] |
| Full Idea: Nature is but a word of human framing. | |
| From: Empedocles (fragments/reports [c.453 BCE], B008), quoted by Aristotle - Metaphysics 1015a |
| 21823 | The principle of 'Friendship' in Empedocles is the One, and is bodiless [Empedocles, by Plotinus] |
| Full Idea: In Empedocles we have a dividing principle, 'Strife', set against 'Friendship' - which is the One and is to him bodiless, while the elements represent matter. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Plotinus - The Enneads 5.1.09 | |
| A reaction: The first time I've seen the principle of Love in Empedocles identified with the One of Parmenides. Plotinus is a trustworthy reporter, I think, because he was well read, and had access to lost texts. |
| 2680 | Empedocles said that there are four material elements, and two further creative elements [Empedocles, by Aristotle] |
| Full Idea: Empedocles holds that the corporeal elements are four, but that all the elements, including those which create motion, are six in number. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 314a16 |
| 6002 | Empedocles says bone is water, fire and earth in ratio 2:4:2 [Empedocles, by Inwood] |
| Full Idea: Empedocles used numerical ratios to explain different kinds of matter; for example, bone is two parts water, four parts fire, two parts earth; and blood is an equal blend of all four elements. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Brad Inwood - Empedocles | |
| A reaction: Why isn't the ration 1:2:1? This presumably shows the influence of Pythagoras (who had also been based in Italy, like Empedocles), as well as that of the earlier naturalistic philosophers. It was a very good theory, though wrong. |
| 13207 | Fire, Water, Air and Earth are elements, being simple as well as homoeomerous [Empedocles, by Aristotle] |
| Full Idea: Empedocles says that Fire, Water, Air and Earth are four elements, and are thus 'simple' rather than flesh, bone and bodies which, like these, are 'homoeomeries'. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 314a26 | |
| A reaction: The translation is not quite clear. I take it that flesh and bone may look simple, because they are homoeomerous, but they are not really - but what is his evidence for that? Compare Idea 13208. |
| 459 | All change is unity through love or division through hate [Empedocles] |
| Full Idea: These elements never cease their continuous exchange, sometimes uniting under the influence of Love, so that all become One, at other times again moving apart through the hostile force of Hate. | |
| From: Empedocles (fragments/reports [c.453 BCE], B017), quoted by Simplicius - On Aristotle's 'Physics' 158.1- |
| 13218 | The elements combine in coming-to-be, but how do the elements themselves come-to-be? [Aristotle on Empedocles] |
| Full Idea: Empedocles says it is evident that all the other bodies down to the 'elements' have their coming-to-be and their passing-away: but it is not clear how the 'elements' themselves, severally in their aggregated masses, come-to-be and pass-away. | |
| From: comment on Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 325b20 | |
| A reaction: Presumably the elements are like axioms - and are just given. How do electrons and quarks come-to-be? |
| 13225 | Love and Strife only explain movement if their effects are distinctive [Aristotle on Empedocles] |
| Full Idea: It is not an adequate explanation to say that 'Love and Strife set things moving', unless the very nature of Love is a movement of this kind and the very nature of Strife a movement of that kind. | |
| From: comment on Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 333b23 | |
| A reaction: I take this to be of interest for showing Aristotle's quest for explanations, and his unwillingness to be fobbed off with anything superficial. I take a task of philosophy to be to push explanations further than others wish to go. |
| 460 | If the one Being ever diminishes it would no longer exist, and what could ever increase it? [Empedocles] |
| Full Idea: Besides these elements, nothing else comes into being, nor does anything cease. For if they had been perishing continuously, they would Be no more; and what could increase the Whole? And whence could it have come? | |
| From: Empedocles (fragments/reports [c.453 BCE], B017), quoted by Simplicius - On Aristotle's 'Physics' 158.1- |
| 5090 | Maybe bodies are designed by accident, and the creatures that don't work are destroyed [Empedocles, by Aristotle] |
| Full Idea: Is it just an accident that teeth and other parts of the body seem to have some purpose, and creatures survive because they happen to be put together in a useful way? Everything else has been destroyed, as Empedocles says of his 'cow with human head'. | |
| From: report of Empedocles (fragments/reports [c.453 BCE], 61) by Aristotle - Physics 198b29 | |
| A reaction: Good grief! Has no one ever noticed that Empedocles proposed the theory of evolution? It isn't quite natural selection, because we aren't told what does the 'destroying', but it is a little flash of genius that was quietly forgotten. |
| 461 | God is a pure, solitary, and eternal sphere [Empedocles] |
| Full Idea: God is equal in all directions to himself and altogether eternal, a rounded Sphere enjoying a circular solitude. | |
| From: Empedocles (fragments/reports [c.453 BCE], B028), quoted by John Stobaeus - Anthology 1.15.2 |
| 466 | God is pure mind permeating the universe [Empedocles] |
| Full Idea: God is mind, holy and ineffable, and only mind, which darts through the whole cosmos with its swift thought. | |
| From: Empedocles (fragments/reports [c.453 BCE], B134), quoted by Ammonius - On 'De Interpretatione' 4.5.249.6 |
| 1719 | In Empedocles' theory God is ignorant because, unlike humans, he doesn't know one of the elements (strife) [Aristotle on Empedocles] |
| Full Idea: It is a consequence of Empedocles' view that God is the most unintelligent thing, for he alone is ignorant of one of the elements, namely strife, whereas mortal creatures are familiar with them all. | |
| From: comment on Empedocles (fragments/reports [c.453 BCE]) by Aristotle - De Anima 410b08 |
| 1522 | It is wretched not to want to think clearly about the gods [Empedocles] |
| Full Idea: Wretched is he who cares not for clear thinking about the gods. | |
| From: Empedocles (fragments/reports [c.453 BCE], B132), quoted by Clement - Miscellanies 5.140.5.1 |
| 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? |