10 ideas
| 16639 | Only individual bodies exist [Bacon] |
| Full Idea: Nothing truly exists in nature beyond individual bodies. | |
| From: Francis Bacon (The New Organon [1620]), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 182 | |
| A reaction: [Unusually, Pasnau gives no reference in the text; possibly II:1-2] What this leaves out, from even an auster nominalist ontology, is undifferentiated stuff like water. Even electrons don't seem quite distinct from one another. |
| 16033 | There are only individual bodies containing law-based powers, and the Forms are these laws [Bacon] |
| Full Idea: Though nothing exists in nature except individual bodies which exhibit pure individual acts [powers] in accordance with law…It is this law and its clauses which we understand by the term Forms. | |
| From: Francis Bacon (The New Organon [1620], p.103), quoted by Jan-Erik Jones - Real Essence §3 | |
| A reaction: This isn't far off what Aristotle had in mind, when he talks of forms as being 'principles', though there is more emphasis on mechanisms in the original idea. Note that Bacon takes laws so literally that he refers to their 'clauses'. |
| 21950 | Science must clear away the idols of the mind if they are ever going to find the truth [Bacon] |
| Full Idea: We must clear away the idols and false notions which are now in possession of the human understanding, and have taken deep root therein, and so beset men's minds that truth can hardly find an entrance. | |
| From: Francis Bacon (The New Organon [1620], 38), quoted by Mark Wrathall - Heidegger: how to read 2 | |
| A reaction: [He goes on to list the types of idol] |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |
| 5049 | Intelligent pleasure is the perception of beauty, order and perfection [Leibniz] |
| Full Idea: An intelligent being's pleasure is simply the perception of beauty, order and perfection. | |
| From: Gottfried Leibniz (A Résumé of Metaphysics [1697], §18) | |
| A reaction: Leibniz seems to have inherited this from the Greeks, especially Pythagoras and Plato. Buried in Leibniz's remark I see the Christian fear of physical pleasure. He should have got out more. Must an intelligent being always be intelligent? |
| 5048 | Perfection is simply quantity of reality [Leibniz] |
| Full Idea: Perfection is simply quantity of reality. | |
| From: Gottfried Leibniz (A Résumé of Metaphysics [1697], §11) | |
| A reaction: An interesting claim, but totally beyond my personal comprehension. I presume he inherited 'quantity of reality' from Plato, e.g. as you move up the Line from shadows to Forms you increase the degree of reality. I see 'real' as all-or-nothing. |
| 5050 | Evil serves a greater good, and pain is necessary for higher pleasure [Leibniz] |
| Full Idea: Evils themselves serve a greater good, and the fact that pains are found in minds is necessary if they are to reach greater pleasures. | |
| From: Gottfried Leibniz (A Résumé of Metaphysics [1697], §23) | |
| A reaction: How much pain is needed to qualify for the 'greater pleasures'? Some people receive an awful lot. I am not sure exactly how an evil can 'serve' a greater good. Is he recommending evil? |