14 ideas
| 16123 | Whenever you perceive a community of things, you should also hunt out differences in the group [Plato] |
| Full Idea: The rule is that when one perceives first the community between the members of a group of many things, one should not desist until one sees in it all those differences that are located in classes. | |
| From: Plato (The Statesman [c.356 BCE], 285b) | |
| A reaction: He goes on to recommend the opposite as well - see community even when there appears to be nothing but differences. I take this to be analysis, just as much as modern linguistic approaches are. Analyse the world, not language. |
| 16124 | No one wants to define 'weaving' just for the sake of weaving [Plato] |
| Full Idea: I don't suppose that anyone with any sense would want to hunt down the definition of 'weaving' for the sake of weaving itself. | |
| From: Plato (The Statesman [c.356 BCE], 285d) | |
| A reaction: The point seems to be that the definition brings out the connections between weaving and other activities and objects, thus enlarging our understanding. |
| 16125 | To reveal a nature, divide down, and strip away what it has in common with other things [Plato] |
| Full Idea: Let's take the kind posited and cut it in two, .then follow the righthand part of what we've cut, and hold onto things that the sophist is associated with until we strip away everything he has in common with other things, then display his peculiar nature. | |
| From: Plato (The Statesman [c.356 BCE], 264e) | |
| A reaction: This seems to be close to Aristotle's account of definition, when he is trying to get at what-it-is-to-be some thing. But if you strip away everything the definiendum has in common with other things, will anything remain? |
| 5961 | The soul gets its goodness from god, and its evil from previous existence. [Plato] |
| Full Idea: From its composer the soul possesses all beautiful things, but from its former condition, everything that proves to be harsh and unjust in heaven. | |
| From: Plato (The Statesman [c.356 BCE], 273b) | |
| A reaction: A neat move to explain the origins of evil (or rather, to shift the problem of evil to a long long way from here). This view presumably traces back to the views of Empedocles on good and evil. Can the soul acquire evil in its current existence? |
| 7319 | If we give up synonymy, we have to give up significance, meaning and sense [Grice/Strawson] |
| Full Idea: If we are to give up the notion of sentence-synonymy as senseless, we must give up the notion of sentence-significance (of a sentence having meaning) as senseless too. But then perhaps we might as well give up the notion of sense. | |
| From: P Grice / P Strawson (In Defense of a Dogma [1956]), quoted by Alexander Miller - Philosophy of Language 4.2 | |
| A reaction: This is very prescient. Nearly all American philosophers seem to embrace Quine's view of analyticity (the philosophical equivalent of Americans putting a man on the moon?), but have they digested the implications (which Quine later largely admits)? |
| 283 | The question of whether or not to persuade comes before the science of persuasion [Plato] |
| Full Idea: The science of whether one must persuade or not must rule over the science capable of persuading. | |
| From: Plato (The Statesman [c.356 BCE], 304c) | |
| A reaction: Plato probably thinks that reason has to be top of the pyramid, but there is always the Nietzschean/romantic question of why we should place such a value on what is rational. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 282 | Non-physical beauty can only be shown clearly by speech [Plato] |
| Full Idea: The bodiless things, being the most beautiful and the greatest, are only shown with clarity by speech and nothing else. | |
| From: Plato (The Statesman [c.356 BCE], 286a) | |
| A reaction: Unfortunately this will be true of warped and ugly ideas as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 281 | The arts produce good and beautiful things by preserving the mean [Plato] |
| Full Idea: It is by preserving the mean that arts produce everything that is good and beautiful. | |
| From: Plato (The Statesman [c.356 BCE], 284b) |
| 22559 | Democracy is the worst of good constitutions, but the best of bad constitutions [Plato, by Aristotle] |
| Full Idea: Plato judged that when the constitution is decent, democracy is the worst of them, but when they are bad it is the best. | |
| From: report of Plato (The Statesman [c.356 BCE], 302e) by Aristotle - Politics 1289b07 | |
| A reaction: Aristotle denies that a good oligarchy is superior. What of technocracy? The challenge is to set up institutions which ensure the health of the democracy. The big modern problem is populists who lie. |
| 279 | Only divine things can always stay the same, and bodies are not like that [Plato] |
| Full Idea: It is fitting for only the most divine things of all to be always the same and in the same state and in the same respects, and the nature of body is not of this ordering. | |
| From: Plato (The Statesman [c.356 BCE], 269b) |