11 ideas
| 6349 | I can prove a hand exists, by holding one up, pointing to it, and saying 'here is one hand' [Moore,GE] |
| Full Idea: I can prove now that two human hands exist. How? By holding up my two hands, and saying, as I make a certain gesture with the right hand, 'Here is one hand', and adding, as I gesture with the left, 'and here is another'. | |
| From: G.E. Moore (Proof of an External World [1939], p.1) | |
| A reaction: The words need to be spoken, presumably, so that what he is doing fits into the linguistic conventions of what will normally be accepted as a proof. In fact, just holding the hand up seems enough. The proof begs the question of virtual reality. |
| 14794 | Instead of seeking Truth, we should seek belief that is beyond doubt [Peirce] |
| Full Idea: Your problems would be greatly simplified, if, instead of saying that you want to know the Truth, you were simply to say that you want to attain a state of belief unassailable beyond doubt. | |
| From: Charles Sanders Peirce (Essentials of Pragmatism [1905], I) | |
| A reaction: This is not the same as saying that belief beyond doubt IS truth. He is merely offering a strategy for scientists to side-step the sort of scepticism raised by Descartes and radical empiricists. |
| 14792 | A 'conception', the rational implication of a word, lies in its bearing upon the conduct of life [Peirce] |
| Full Idea: The present writer framed the theory that a 'conception', that is, the rational purport of a word or other expression, lies exclusively in its conceivable bearing upon the conduct of life. | |
| From: Charles Sanders Peirce (Essentials of Pragmatism [1905], I) |
| 14793 | The definition of a concept is just its experimental implications [Peirce] |
| Full Idea: If one can define accurately all the conceivable experimental phenomena which the affirmation or denial of a concept could imply, one will have therein a complete definition of the concept, and there is absolutely nothing more in it. | |
| From: Charles Sanders Peirce (Essentials of Pragmatism [1905], I) | |
| A reaction: Strictly, I would have thought you could only affirm or deny a complete proposition, rather than a concept. What should I do with the concept of a 'unicorn'? Note that all theories, such as empiricism or pragmatism, begin with an account of our concepts. |
| 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. |