22 ideas
| 12170 | Amusement rests on superiority, or relief, or incongruity [Scruton] |
| Full Idea: There are three common accounts of amusement: superiority theories (Hobbes's 'sudden glory'), 'relief from restraint' (Freud on jokes), and 'incongruity' theories (Schopenhauer). | |
| From: Roger Scruton (Laughter [1982], §5) | |
| A reaction: All three contain some truth. But one need not feel superior to laugh, and one may already be in a state of unrestraint. Schopenhauer seems closest to a good general account. |
| 12172 | Objects of amusement do not have to be real [Scruton] |
| Full Idea: It is a matter of indifference whether the object of amusement be thought to be real. | |
| From: Roger Scruton (Laughter [1982], §7) | |
| A reaction: Sort of. If I say 'wouldn't it be funny if someone did x?', it is probably much less funny than if I say 'apparently he really did x'. The fantasy case has to be much funnier to evoke the laughter. |
| 12173 | The central object of amusement is the human [Scruton] |
| Full Idea: There are amusing buildings, but not amusing rocks and cliffs. If I were to propose a candidate for the formal object of amusement, then the human would be my choice, ...or at least emphasise its centrality. | |
| From: Roger Scruton (Laughter [1982], §9) | |
| A reaction: Sounds good. Animal behaviour only seems to amuse if it evokes something human. Plants would have to look a bit human to be funny. |
| 12169 | Since only men laugh, it seems to be an attribute of reason [Scruton] |
| Full Idea: Man is the only animal that laughs, so a starting point for all enquiries into laughter must be the hypothesis that it is an attribute of reason (though that gets us no further than our definition of reason). | |
| From: Roger Scruton (Laughter [1982], §1) | |
| A reaction: I would be inclined to say that both our capacity for reason and our capacity for laughter (and, indeed, our capacity for language) are a consequence of our evolved capacity for meta-thought. |
| 12124 | Metaphysics is the best knowledge, because it is the simplest [Bacon] |
| Full Idea: That knowledge is worthiest which is charged with least multiplicity, which appeareth to be metaphysic | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.6) | |
| A reaction: A surprising view, coming from the father of modern science, but essentially correct. Obviously metaphysics aspires to avoid multiplicity, but it is riddled not only with complexity in its researches, but massive uncertainties. |
| 12123 | Natural history supports physical knowledge, which supports metaphysical knowledge [Bacon] |
| Full Idea: Knowledges are as pyramides, whereof history is the basis. So of natural philosophy, the basis is natural history, the stage next the basis is physic; the stage next the vertical point is metaphysic. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.6) | |
| A reaction: The father of modern science keeps a place for metaphysics, as the most abstract level above the physical sciences. I would say he is right. It leads to my own slogan: science is the servant of philosophy. |
| 12119 | Physics studies transitory matter; metaphysics what is abstracted and necessary [Bacon] |
| Full Idea: Physic should contemplate that which is inherent in matter, and therefore transitory; and metaphysic that which is abstracted and fixed | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.3) | |
| A reaction: He cites the ancients for this view, with which he agrees. One could do worse than hang onto metaphysics as the study of necessities, but must then face the attacks of the Quineans - that knowledge of necessities is beyond us. |
| 12120 | Physics is of material and efficient causes, metaphysics of formal and final causes [Bacon] |
| Full Idea: Physic inquireth and handleth the material and efficient causes; and metaphysic handleth the formal and final causes. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.3) | |
| A reaction: Compare Idea 12119. This divides up Aristotle's famous Four Causes (or Explanations), outlined in 'Physics' II.3. The concept of 'matter', and the nature of 'cause' seem to me to fall with the purview of metaphysics. Interesting, though. |
| 12121 | We don't assume there is no land, because we can only see sea [Bacon] |
| Full Idea: They are ill discoverers that think there is no land, when they can see nothing but sea. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.5) | |
| A reaction: Just the sort of pithy remark for which Bacon is famous. It is an obvious point, but a nice corrective to anyone who wants to apply empirical principles in a rather gormless way. |
| 12117 | Science moves up and down between inventions of causes, and experiments [Bacon] |
| Full Idea: All true and fruitful natural philosophy hath a double scale or ladder, ascendent and descendent, ascending from experiments to the invention of causes, and descending from causes to the invention of new experiments. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.1) | |
| A reaction: After several hundred years, I doubt whether anyone can come up with a better account of scientific method than Bacon's. |
| 12127 | Many different theories will fit the observed facts [Bacon] |
| Full Idea: The ordinary face and view of experience is many times satisfied by several theories and philosophies. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VIII.5) | |
| A reaction: He gives as his example that the Copernican system and the Ptolemaic system both seem to satisfy all the facts. He wrote in 1605, just before Galileo's telescope. His point is regularly made in modern discussions. In this case, he was wrong! |
| 12126 | People love (unfortunately) extreme generality, rather than particular knowledge [Bacon] |
| Full Idea: It is the nature of the mind of man (to the extreme prejudice of knowledge) to delight in the spacious liberty of generalities, as in a champaign region, and not in the inclosures of particularity. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VIII.1) | |
| A reaction: I have to plead guilty to this myself. He may have pinpointed the key motivation behind philosophy. We all want to know things, as Aristotle said, but some of us want the broad brush, and others want the fine detail. |
| 12174 | Only rational beings are attentive without motive or concern [Scruton] |
| Full Idea: It is only rational beings who can be attentive without a motive; only rational beings who can be interested in that in which they have no interest. | |
| From: Roger Scruton (Laughter [1982], §12) | |
| A reaction: Rational beings make long term plans, so they cannot prejudge which things may turn out to be of interest to them. Scruton (a Kantian) makes it sound a little loftier than it actually is. |
| 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. |
| 12125 | Teleological accounts are fine in metaphysics, but they stop us from searching for the causes [Bacon] |
| Full Idea: To say 'leaves are for protecting of fruit', or that 'clouds are for watering the earth', is well inquired and collected in metaphysic, but in physic they are impertinent. They are hindrances, and the search of the physical causes hath been neglected. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.7) | |
| A reaction: This is the standard rebellion against Aristotle which gave rise to the birth of modern science. The story has been complicated by natural selection, which bestows a sort of purpose on living things. Nowadays we pursue both paths. |
| 12118 | Essences are part of first philosophy, but as part of nature, not part of logic [Bacon] |
| Full Idea: I assign to summary philosophy the operation of essences (as quantity, similitude, diversity, possibility), with this distinction - that they be handled as they have efficacy in nature, and not logically. | |
| From: Francis Bacon (The Advancement of Learning [1605], II.VII.3) | |
| A reaction: I take this to be a splendid motto for scientific essentialism, in a climate where modal logicians appear to have taken over the driving seat in our understanding of essences. |