24 ideas
| 17641 | Discoveries in mathematics can challenge philosophy, and offer it a new foundation [Russell] |
| Full Idea: Any new discovery as to mathematical method and principles is likely to upset a great deal of otherwise plausible philosophising, as well as to suggest a new philosophy which will be solid in proportion as its foundations in mathematics are securely laid. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.283) | |
| A reaction: This is a manifesto for modern analytic philosophy. I'm not convinced, especially if a fictionalist view of maths is plausible. What Russell wants is rigour, but there are other ways of getting that. Currently I favour artificial intelligence. |
| 17638 | If one proposition is deduced from another, they are more certain together than alone [Russell] |
| Full Idea: Two obvious propositions of which one can be deduced from the other both become more certain than either in isolation; thus in a complicated deductive system, many parts of which are obvious, the total probability may become all but absolute certainty. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.279) | |
| A reaction: Thagard picked this remark out, in support of his work on coherence. |
| 17632 | Non-contradiction was learned from instances, and then found to be indubitable [Russell] |
| Full Idea: The law of contradiction must have been originally discovered by generalising from instances, though, once discovered, it was found to be quite as indubitable as the instances. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.274) |
| 17629 | Which premises are ultimate varies with context [Russell] |
| Full Idea: Premises which are ultimate in one investigation may cease to be so in another. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.273) |
| 17630 | The sources of a proof are the reasons why we believe its conclusion [Russell] |
| Full Idea: In mathematics, except in the earliest parts, the propositions from which a given proposition is deduced generally give the reason why we believe the given proposition. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.273) |
| 17640 | Finding the axioms may be the only route to some new results [Russell] |
| Full Idea: The premises [of a science] ...are pretty certain to lead to a number of new results which could not otherwise have been known. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.282) | |
| A reaction: I identify this as the 'fruitfulness' that results when the essence of something is discovered. |
| 17627 | It seems absurd to prove 2+2=4, where the conclusion is more certain than premises [Russell] |
| Full Idea: It is an apparent absurdity in proceeding ...through many rather recondite propositions of symbolic logic, to the 'proof' of such truisms as 2+2=4: for it is plain that the conclusion is more certain than the premises, and the supposed proof seems futile. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.272) | |
| A reaction: Famously, 'Principia Mathematica' proved this fact at enormous length. I wonder if this thought led Moore to his common sense view of his own hand - the conclusion being better than the sceptical arguments? |
| 17628 | Arithmetic was probably inferred from relationships between physical objects [Russell] |
| Full Idea: When 2 + 2 =4 was first discovered, it was probably inferred from the case of sheep and other concrete cases. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.272) |
| 17637 | The most obvious beliefs are not infallible, as other obvious beliefs may conflict [Russell] |
| Full Idea: Even where there is the highest degree of obviousness, we cannot assume that we are infallible - a sufficient conflict with other obvious propositions may lead us to abandon our belief, as in the case of a hallucination afterwards recognised as such. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.279) | |
| A reaction: This approach to fallibilism seems to arise from the paradox that undermined Frege's rather obvious looking axioms. After Peirce and Russell, fallibilism has become a secure norm of modern thought. |
| 17639 | Believing a whole science is more than believing each of its propositions [Russell] |
| Full Idea: Although intrinsic obviousness is the basis of every science, it is never, in a fairly advanced science, the whole of our reason for believing any one proposition of the science. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.279) |
| 1556 | By nature people are close to one another, but culture drives them apart [Hippias] |
| Full Idea: I regard you all as relatives - by nature, not by convention. By nature like is akin to like, but convention is a tyrant over humankind and often constrains people to act contrary to nature. | |
| From: Hippias (fragments/reports [c.430 BCE]), quoted by Plato - Protagoras 337c8 |
| 17631 | Induction is inferring premises from consequences [Russell] |
| Full Idea: The inferring of premises from consequences is the essence of induction. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.274) | |
| A reaction: So induction is just deduction in reverse? Induction is transcendental deduction? Do I deduce the premises from observing a lot of white swans? Hm. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 17633 | The law of gravity has many consequences beyond its grounding observations [Russell] |
| Full Idea: The law of gravitation leads to many consequences which could not be discovered merely from the apparent motions of the heavenly bodies. | |
| From: Bertrand Russell (Regressive Method for Premises in Mathematics [1907], p.275) |