13 ideas
| 21852 | Nomads are the basis of history, and yet almost unknowable [Deleuze] |
| Full Idea: There is no history from the viewpoint of nomads, although everything passes through them, to the point that they are like the noumena or the unknowable of history. | |
| From: Gilles Deleuze (Many Politics [1977], p.107) | |
| A reaction: Nomads have the same place in society that indeterminate 'stuff' has in an object-orientated metaphysics. Deleuze seems to be romanticising nomads the way the late Victorians romanticised gypsies. |
| 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. |
| 1477 | Being manly and brave is the result of convention, not of human nature [Plutarch] |
| Full Idea: Manliness is not a natural human attribute, otherwise women would be just as brave. It is due to pressure from laws, and this pressure has no free will, but is a slave of convention and criticism. | |
| From: Plutarch (64: Gryllus - on Rationality in Animals [c.85], 988c) | |
| A reaction: This is the first glimmerings of seeing gender as a cultural creation, rather than as a fact. Presumably he takes the same view of some of the supposed feminine virtues. |
| 1478 | Animals don't value pleasure, as they cease sexual intercourse after impregnation [Plutarch] |
| Full Idea: Animals of both sexes cease to have intercourse after impregnation; that shows how little animals value pleasure, and that nature is all that counts. | |
| From: Plutarch (64: Gryllus - on Rationality in Animals [c.85], 990d) | |
| A reaction: A famous monkey had an implant to stimulate pleasure, and a button to trigger it. It apparently would have starved to death rather than release the button. Animal sex is dull? |
| 21853 | We are currently extending capitalism to the whole of society [Deleuze] |
| Full Idea: What characterises our situation is ….the extension of capitalism to the whole social body. | |
| From: Gilles Deleuze (Many Politics [1977], p.110) | |
| A reaction: This is driven by the naïve people who think all problems can be solved by market forces, and that to everything that goes bankrupt we should just say 'good riddance'. |
| 21851 | The State requires self-preservation, but the war-machine desires destruction [Deleuze] |
| Full Idea: There will always be a tension between the State apparatus with its requirement for self-preservation, and the war-machine in its undertaking to destroy the State, to destroy the subjects of the State, and even to destroy itself. | |
| From: Gilles Deleuze (Many Politics [1977], p.106) | |
| A reaction: This seems to fit WWI quite well, but the desire of the war-machine to destroy the State which pays for it sounds unlikely. Nevertheless war is appalling for the state, but it is the whole point of the war-machine, which gets restless. |
| 1479 | Animals have not been led into homosexuality, because they value pleasure very little [Plutarch] |
| Full Idea: Because animals value pleasure very little, they have not been led into sex between males or between females. | |
| From: Plutarch (64: Gryllus - on Rationality in Animals [c.85], 990d) |