14 ideas
| 15946 | Cantor developed sets from a progression into infinity by addition, multiplication and exponentiation [Cantor, by Lavine] |
| Full Idea: Cantor's development of set theory began with his discovery of the progression 0, 1, ....∞, ∞+1, ∞+2, ..∞x2, ∞x3, ...∞^2, ..∞^3, ...∞^∞, ...∞^∞^∞..... | |
| From: report of George Cantor (Grundlagen (Foundations of Theory of Manifolds) [1883]) by Shaughan Lavine - Understanding the Infinite VIII.2 |
| 15911 | Ordinals are generated by endless succession, followed by a limit ordinal [Cantor, by Lavine] |
| Full Idea: Ordinal numbers are generated by two principles: each ordinal has an immediate successor, and each unending sequence has an ordinal number as its limit (that is, an ordinal that is next after such a sequence). | |
| From: report of George Cantor (Grundlagen (Foundations of Theory of Manifolds) [1883]) by Shaughan Lavine - Understanding the Infinite III.4 |
| 22098 | Socrates neglects the gap between knowing what is good and doing good [Kierkegaard, by Carlisle] |
| Full Idea: There is a fundamental weakness in Socrates, that he does not take into account the gap between knowing what is good and actually putting this into action. | |
| From: report of Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: This rejects Socrates's intellectualism about weakness of will. It is perhaps a better criticism that Aristotle's view that desires sometimes overcome the will. It is also the problem of motivation in Kantian deontology. Or utilitarianism. |
| 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. |
| 22096 | Anxiety is not a passing mood, but a response to human freedom [Kierkegaard, by Carlisle] |
| Full Idea: For Kierkegaard anxiety is not simply a mood or an emotion that certain people experience at certain times, but a basic response to freedom that is part of the human condition. | |
| From: report of Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: Outside of Christianity, this may be Kierkegaard's most influential idea - since existential individualism is floating around in the romantic movement. But the Byronic hero experiences a sort of anxiety. If you can't face anxiety, become a monk or nun. |
| 22097 | The ultimate in life is learning to be anxious in the right way [Kierkegaard] |
| Full Idea: Every human being must learn to be anxious in order that he might not perish either by never having been in anxiety or by succumbing in anxiety. Whoever has learned to be anxious in the right way has learnt the ultimate. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.154), quoted by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: I think this is the most existentialist quotation I have found in Kierkegaard. It sounds circular. You must be in anxiety because otherwise you won't be able to cope with anxiety? I suppose anxiety is facing up to his concept of truth. |
| 21909 | Ultimate knowledge is being anxious in the right way [Kierkegaard] |
| Full Idea: Whoever learns to be anxious in the right way has learned the ultimate. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.187), quoted by Alastair Hannay - Kierkegaard 06 | |
| A reaction: This shows us that Kierkegaard had a rather bizarre mental life which the rest of us have little chance of penetrating. I'll have a go at cataloguing my types of anxiety, but I'm not hopeful. |
| 20758 | Anxiety is staring into the yawning abyss of freedom [Kierkegaard] |
| Full Idea: One may liken anxiety to dizziness. He whose eyes chance to look down into a yawning abyss becomes dizzy. Anxiety is the dizziness of freedom which is when freedom gazes down into its own possibility, grasping at finiteness to sustain itself. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.55), quoted by Kevin Aho - Existentialism: an introduction 6 'Moods' | |
| A reaction: Most of us rapidly retreat from the thought of the infinity of things we might choose. Choosing bizarrely merely to assert one's freedom is simple stupidity. |