13 ideas
| 21901 | 'Difference' refers to that which eludes capture [Deleuze, by May] |
| Full Idea: 'Difference' is a term which Deleuze uses to refer to that which eludes capture. | |
| From: report of Gilles Deleuze (Difference and Repetition [1968]) by Todd May - Gilles Deleuze 3.03 | |
| A reaction: Presumably its ancestor is Kant's noumenon. This is one of his concepts used to 'palpate' our ossified conceptual scheme. |
| 21908 | Ontology can be continual creation, not to know being, but to probe the unknowable [Deleuze] |
| Full Idea: Ontology can be an ontology of difference ....where what is there is not the same old things but a process of continual creation, an ontology that does not seek to reduce being to the knowable, but widens thought to palpate the unknowable. | |
| From: Gilles Deleuze (Difference and Repetition [1968]), quoted by Todd May - Gilles Deleuze 5.05 | |
| A reaction: I'm inclined to think that the first duty of ontology is to face up to the knowable. I'm not sure that probing the unknowable, with no success or prospect of it, is a good way to spend a life. Probing ('palpating') can sometimes discover things. |
| 21902 | 'Being' is univocal, but its subject matter is actually 'difference' [Deleuze] |
| Full Idea: Being is said in a single and same sense of everything of which it is said, but that of which it is said differs: it is said of difference itself. | |
| From: Gilles Deleuze (Difference and Repetition [1968], p.36), quoted by Todd May - Gilles Deleuze 3.03 | |
| A reaction: This is an attempt to express the Heraclitean view of reality, as process, movement, multiplicity - something which always eludes our attempts to pin it down. |
| 21903 | Ontology does not tell what there is; it is just a strange adventure [Deleuze, by May] |
| Full Idea: In Deleuze's hands ontology is not a matter of telling us what there is, but of taking us on strange adventures. | |
| From: report of Gilles Deleuze (Difference and Repetition [1968]) by Todd May - Gilles Deleuze 3.03 | |
| A reaction: Presumably you only indulge in the strange adventure because you have no idea how to specify what there is. This sounds like the essence of post-modernism, in which life is just a game. |
| 21904 | Being is a problem to be engaged, not solved, and needs a new mode of thinking [Deleuze, by May] |
| Full Idea: In Deleuze, Being is not a puzzle to be solved but a problem to be engaged. It is to be engaged by a thought that moves as comfortably among problems as it does among solutions, as fluidly among differences as it does among identities. | |
| From: report of Gilles Deleuze (Difference and Repetition [1968]) by Todd May - Gilles Deleuze 4.01 | |
| A reaction: This sounds like what I've always known as 'negative capability' (thanks to Keats). Is philosophy just a hobby, like playing darts? It seems that the aim of the process is 'liberation', about which I would like to know more. |
| 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. |
| 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. |
| 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). |
| 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. |
| 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. |
| 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. |
| 1422 | God's existence is either necessary or impossible, and no one has shown that the concept of God is contradictory [Malcolm] |
| Full Idea: God's existence is either impossible or necessary. It can be the former only if the concept of such a being is self-contradictory or in some way logically absurd. Assuming that this is not so, it follows that He necessarily exists. | |
| From: Norman Malcolm (Anselm's Argument [1959], §2) | |
| A reaction: The concept of God suggests paradoxes of omniscience, omnipotence and free will, so self-contradiction seems possible. How should we respond if the argument suggests God is necessary, but evidence suggests God is highly unlikely? |