35 ideas
| 23367 | Even pointing a finger should only be done for a reason [Epictetus] |
| Full Idea: Philosophy says it is not right even to stretch out a finger without some reason. | |
| From: Epictetus (fragments/reports [c.57], 15) | |
| A reaction: The key point here is that philosophy concerns action, an idea on which Epictetus is very keen. He rather despise theory. This idea perfectly sums up the concept of the wholly rational life (which no rational person would actually want to live!). |
| 16665 | There are entities, and then positive 'modes', modifying aspects outside the thing's essence [Suárez] |
| Full Idea: Beyond the entities there are certain real 'modes', which are positive, and in their own right act on those entities, giving them something that is outside their whole essence as individuals existing in reality. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 7.1.17), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 13.3 | |
| A reaction: Suárez is apparently the first person to formulate a proper account of properties as 'modes' of a thing, rather than as accidents which are separate, or are wholly integrated into a thing. A typical compromise proposal in philosophy. Can modes act? |
| 16666 | A mode determines the state and character of a quantity, without adding to it [Suárez] |
| Full Idea: The inherence of quantity is called its mode, because it affects that quantity, which serves to ultimately determine the state and character of its existence, but does not add to it any new proper entity, but only modifies the preexisting entity. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 7.1.17), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 13.3 | |
| A reaction: He seems to present mode as a very active thing, like someone who gives it a coat of paint, or hammers it into a new shape. I don't see how a 'mode' can have any ontological status at all. To exist, there has to be some way to exist. |
| 16667 | Substances are incomplete unless they have modes [Suárez, by Pasnau] |
| Full Idea: In the view of Suárez, substances are radically incomplete entities that cannot exist at all until determined in various ways by things of another kind, modes. …Modes are regarded as completers for their subjects. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597]) by Robert Pasnau - Metaphysical Themes 1274-1671 13.3 | |
| A reaction: This is correct. In order to be a piece of clay it needs a shape, a mass, a colour etc. Treating clay as an object independently from its shape is a misunderstanding. |
| 17007 | Forms must rule over faculties and accidents, and are the source of action and unity [Suárez] |
| Full Idea: A form is required that, as it were, rules over all those faculties and accidents, and is the source of all actions and natural motions of such a being, and in which the whole variety of accidents and powers has its root and unity. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 15.1.7), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 24.4 | |
| A reaction: Pasnau emphasises that this is scholastics giving a very physical and causal emphasis to forms, which made them vulnerable to doubts among the new experiment physicists. Pasnau says forms are 'metaphysical', following Leibniz. |
| 16780 | Partial forms of leaf and fruit are united in the whole form of the tree [Suárez] |
| Full Idea: In a tree the part of the form that is in the leaf is not the same character as the part that is in the fruit., but yet they are partial forms, and apt to be united ….to compose one complete form of the whole. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 15.10.30), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 26.6 | |
| A reaction: This is a common scholastic view, the main opponent of which was Aquinas, who says each thing only has one form. Do leaves have different DNA from the bark or the fruit? Presumably not (since I only have one DNA), which supports Aquinas. |
| 16758 | The best support for substantial forms is the co-ordinated unity of a natural being [Suárez] |
| Full Idea: The most powerful arguments establishing substantial forms are based on the necessity, for the perfect constitution of a natural being, that all the faculties and operations of that being are rooted in one essential principle. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 15.10.64), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 24.4 | |
| A reaction: Note Idea 15756, that this stability not only applies to biological entities (the usual Aristotelian examples), but also to non-living natural kinds. We might say that the drive for survival is someone united around a single entity. |
| 16743 | We can get at the essential nature of 'quantity' by knowing bulk and extension [Suárez] |
| Full Idea: We can say that the form that gives corporeal bulk [molem] or extension to things is the essential nature of quantity. To have bulk is to expel a similar bulk from the same space. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 40.4.16), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 539 | |
| A reaction: This is one step away from asking why, once we knew the bulk and extension of the thing, we would still have any interest in trying to grasp something called its 'quantity'. |
| 16742 | We only know essences through non-essential features, esp. those closest to the essence [Suárez] |
| Full Idea: We can almost never set out the essences of things, as they are in things. Instead, we work through their connection to some non-essential feature, and we seem to succeed well enough when we spell it out through the feature closest to the essence. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 40.4.16), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 23.5 | |
| A reaction: It is a common view that with geometrical figures we can actually experience the essence itself. So has science broken through, and discerned actual essences of things? |
| 22143 | Identity does not exclude possible or imagined difference [Suárez, by Boulter] |
| Full Idea: To be really the same excludes being really other, but does not exclude being other modally or mentally. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597], 7.65) by Stephen Boulter - Why Medieval Philosophy Matters 4 | |
| A reaction: So the statue and the clay are identical, but they could become separate, or be imagined as separate. |
| 22144 | Real Essential distinction: A and B are of different natural kinds [Suárez, by Boulter] |
| Full Idea: The Real Essential distinction says if A and B are not of the same natural kind, then they are essentially distinct. This is the highest degree of distinction. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597], Bk VII) by Stephen Boulter - Why Medieval Philosophy Matters 4 | |
| A reaction: Boulter says Peter is essentially distinct from a cabbage, because neither has the nature of the other. |
| 22146 | Minor Real distinction: B needs A, but A doesn't need B [Suárez, by Boulter] |
| Full Idea: The Minor Real distinction is if A can exist without B, but B ceases to exist without A. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597], Bk VII) by Stephen Boulter - Why Medieval Philosophy Matters 4 | |
| A reaction: This is one-way independence. Boulter's example is Peter and Peter's actual weight. |
| 22145 | Major Real distinction: A and B have independent existences [Suárez, by Boulter] |
| Full Idea: The Major Real distinction is if A can exist in the real order without B, and B can exist in the real order without A. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597], Bk VII) by Stephen Boulter - Why Medieval Philosophy Matters 4 | |
| A reaction: Boulter's example is the distinction between Peter and Paul, where their identity of kind is irrelevant. This is two-way independence. |
| 22147 | Conceptual/Mental distinction: one thing can be conceived of in two different ways [Suárez, by Boulter] |
| Full Idea: The Conceptual or Mental distinction is when A and B are actually identical but we have two different ways of conceiving them. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597], Bk VII) by Stephen Boulter - Why Medieval Philosophy Matters 4 | |
| A reaction: This is the Morning and Evening Star. I bet Frege never read Suarez. This seems to be Spinoza's concept of mind/body. |
| 22148 | Modal distinction: A isn't B or its property, but still needs B [Suárez, by Boulter] |
| Full Idea: The Modal distinction is when A is not B or a property of B, but still could not possibly exist without B. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597], Bk VII) by Stephen Boulter - Why Medieval Philosophy Matters 4 | |
| A reaction: Duns Scotus proposed in, Ockham rejected it, but Suarez supports it. Suarez proposes that light's dependence on the Sun is distinct from the light itself, in this 'modal' way. |
| 22149 | Scholastics assess possibility by what has actually happened in reality [Suárez, by Boulter] |
| Full Idea: The scholastic view is that Actuality is our only guide to possibility in the real order. One knows that it is possible to separate A and B if one knows that A and B have actually been separated or are separate. | |
| From: report of Francisco Suárez (Disputationes metaphysicae [1597], Bk VII) by Stephen Boulter - Why Medieval Philosophy Matters 4 | |
| A reaction: It may be possible to separate A and B even though it has never happened, but it is hard to see how we could know that. (But if I put my pen down where it has never been before, I know I can pick it up again, even though this has not previously happened). |
| 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. |
| 16682 | Other things could occupy the same location as an angel [Suárez] |
| Full Idea: An angelic substance could be penetrated by other bodies in the same location. | |
| From: Francisco Suárez (Disputationes metaphysicae [1597], 40.2.21), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 15.3 | |
| A reaction: So am I co-located with an angel right now? |
| 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? |