39 ideas
| 24032 | Clever scholars can obscure things which are obvious even to peasants [Descartes] |
| Full Idea: Scholars are usually ingenious enough to find ways of spreading darkness even in things which are obvious by themselves, and which the peasants are not ignorant of. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 12) | |
| A reaction: Wonderful! I see it everywhere in philosophy. It is usually the result of finding ingenious and surprising grounds for scepticism. The amazing thing is not their lovely arguments, but that fools then take their conclusions seriously. Modus tollens. |
| 24033 | Most scholastic disputes concern words, where agreeing on meanings would settle them [Descartes] |
| Full Idea: The questions on which scholars argue are almost always questions of word. …If philosophers were agreed on the meaning of words, almost all their controversies would cease. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 13) | |
| A reaction: He has a low opinion of 'scholars'! It isn't that difficult to agree on the meanings of key words, in a given context. The aim isn't to get rid of the problems, but to focus on the real problems. Some words contain problems. |
| 24024 | The secret of the method is to recognise which thing in a series is the simplest [Descartes] |
| Full Idea: It is necessary, in a series of objects, to recognise which is the simplest thing, and how all the others depart from it. This rule contains the whole secret of the method. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 06) | |
| A reaction: This is an appealing thought, though deciding the criteria for 'simplest' looks tough. Are electrons, for example, simple? Is a person a simple basic thing? |
| 24018 | One truth leads us to another [Descartes] |
| Full Idea: One truth discovered helps us to discover another. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 01) | |
| A reaction: I take this to be one of the key ingredients of objectivity. People who know very little have almost no chance of objectivity. A mind full of falsehoods also blocks it. |
| 10882 | Predicative definitions only refer to entities outside the defined collection [Horsten] |
| Full Idea: Definitions are called 'predicative', and are considered sound, if they only refer to entities which exist independently from the defined collection. | |
| From: Leon Horsten (Philosophy of Mathematics [2007], §2.4) |
| 10884 | A theory is 'categorical' if it has just one model up to isomorphism [Horsten] |
| Full Idea: If a theory has, up to isomorphism, exactly one model, then it is said to be 'categorical'. | |
| From: Leon Horsten (Philosophy of Mathematics [2007], §5.2) |
| 24035 | Unity is something shared by many things, so in that respect they are equals [Descartes] |
| Full Idea: Unity is that common nature in which all things that are compared with each other must participate equally. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 14) | |
| A reaction: A lovely explanation of the concept of 'units' for counting. Fregeans hate units, but we Grecian thinkers love them. |
| 24036 | I can only see the proportion of two to three if there is a common measure - their unity [Descartes] |
| Full Idea: I do not recognise what the proportion of magnitude is between two and three, unless I consider a third term, namely unity, which is the common measure of the one and the other. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 14) | |
| A reaction: A striking defence of the concept of the need for the unit in arithmetic. To say 'three is half as big again', you must be discussing the same size of 'half' in each instance. |
| 10885 | Computer proofs don't provide explanations [Horsten] |
| Full Idea: Mathematicians are uncomfortable with computerised proofs because a 'good' proof should do more than convince us that a certain statement is true. It should also explain why the statement in question holds. | |
| From: Leon Horsten (Philosophy of Mathematics [2007], §5.3) |
| 10881 | The concept of 'ordinal number' is set-theoretic, not arithmetical [Horsten] |
| Full Idea: The notion of an ordinal number is a set-theoretic, and hence non-arithmetical, concept. | |
| From: Leon Horsten (Philosophy of Mathematics [2007], §2.3) |
| 24029 | Among the simples are the graspable negations, such as rest and instants [Descartes] |
| Full Idea: Among the simple things, we must also place their negation and deprivation, insofar as they fall under out intelligence, because the idea of nothingness, of the instant, of rest, is no less true an idea than that of existence, of duration, of motion. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 12) | |
| A reaction: He sees the 'simple' things as the foundation of all knowledge, because they are self-evident. Not sure about 'no less true', since the specific nothings are parasitic on the somethings. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 24030 | 3+4=7 is necessary because we cannot conceive of seven without including three and four [Descartes] |
| Full Idea: When I say that four and three make seven, this connection is necessary, because one cannot conceive the number seven distinctly without including in it in a confused way the number four and the number three. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 12) | |
| A reaction: This seems to make the truths of arithmetic conceptual, and hence analytic. |
| 24019 | If we accept mere probabilities as true we undermine our existing knowledge [Descartes] |
| Full Idea: It is better never to study than to be unable to distinguish the true from the false, and be obliged to accept as certain what is doubtful. One risks losing the knowledge one already has. Hence we reject all those knowledges which are only probable. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 02) | |
| A reaction: This is usually seen nowadays (and I agree) that this is a false dichotomy. Knowledge can't be all-or-nothing. We should accept probabilities as probable, not as knowledge. Probability became a science after Descartes. |
| 24020 | We all see intuitively that we exist, where intuition is attentive, clear and distinct rational understanding [Descartes] |
| Full Idea: By intuition I mean the conception of an attentive mind, so distinct and clear that it has no doubt about what it understands, …a conception that is borne of the sole light of reason. Thus everyone can see intuitively that he exists. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 03) | |
| A reaction: By 'intuition' he means self-evident certainty, whereas my concept is of a judgement of which I am reasonably confident, but without sufficient grounds for certainty. This is an early assertion of the Cogito, with a clear statement of its grounding. |
| 24031 | When Socrates doubts, he know he doubts, and that truth is possible [Descartes] |
| Full Idea: If Socrates says he doubts everything, it necessarily follows that he at least understands that he doubts, and that he knows that something can be true or false: for these are notions that necessarily accompany doubt. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 12) | |
| A reaction: An early commitment to the Cogito. But note that the inescapable commitment is not just to his existence, but also to his own reasoning, and his own commitment, and to the possibility of truth. Many, many things are undeniable. |
| 24025 | Clear and distinct truths must be known all at once (unlike deductions) [Descartes] |
| Full Idea: We require two conditions for intuition, namely that the proposition appear clear and distinct, and then that it be understood all at once and not successively. Deduction, on the other hand, implies a certain movement of the mind. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 11) | |
| A reaction: A nice distinction. Presumably with deduction you grasp each step clearly, and then the inference and conclusion, and you can then forget the previous steps because you have something secure. |
| 24022 | Our souls possess divine seeds of knowledge, which can bear spontaneous fruit [Descartes] |
| Full Idea: The human soul possesses something divine in which are deposited the first seeds of useful knowledge, which, in spite of the negligence and embarrassment of poorly done studies, bear spontaneous fruit. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 04) | |
| A reaction: This makes clear the religious underpinning which is required for his commitment to such useful innate ideas (such as basic geometry) |
| 24034 | If someone had only seen the basic colours, they could deduce the others from resemblance [Descartes] |
| Full Idea: Let there be a man who has sometimes seen the fundamental colours, and never the intermediate and mixed colours; it may be that by a sort of deduction he will represent those he has not seen, by their resemblance to the others. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 14) | |
| A reaction: Thus Descartes solved Hume's shade of blue problem, by means of 'a sort of deduction' from resemblance, where Hume was paralysed by his need to actually experience it. Dogmatic empiricism is a false doctrine! |
| 24021 | The method starts with clear intuitions, followed by a process of deduction [Descartes] |
| Full Idea: If the method shows clearly how we must use intuition to avoid mistaking the false for the true, and how deduction must operate to lead us to the knowledge of all things, it will be complete in my opinion. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 04) | |
| A reaction: A perfect statement of his foundationalist view. It needs a clear and distinct basis, and the steps of building must be strictly logical. Of course, most of our knowledge relies on induction, rather than deduction. |
| 24027 | Nerves and movement originate in the brain, where imagination moves them [Descartes] |
| Full Idea: The motive power or the nerves themselves originate in the brain, which contains the imagination, which moves them in a thousand ways, as the common sense is moved by the external sense. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 12) | |
| A reaction: This sounds a lot more physicalist than his later explicit dualism in Meditations. Even in that work the famous passage on the ship's pilot acknowledged tight integration of mind and brain. |
| 24026 | Our four knowledge faculties are intelligence, imagination, the senses, and memory [Descartes] |
| Full Idea: There are four faculties in us which we can use to know: intelligence, imagination, the senses, and memory. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 12) | |
| A reaction: Philosophers have to attribute faculties to the mind, even if the psychologists and neuroscientists won't accept them. We must infer the sources of our modes of understanding. He is cautious about imagination. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 24028 | The force by which we know things is spiritual, and quite distinct from the body [Descartes] |
| Full Idea: This force by which we properly know objects is purely spiritual, and is no less distinct from the body than is the blood from the bones. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 12) | |
| A reaction: This firmly contradicts any physicalism I thought I detected in Idea 24027! He uses the word 'spiritual' of the mind here, which I don't think he uses in later writings. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 24023 | All the sciences searching for order and measure are related to mathematics [Descartes] |
| Full Idea: I have discovered that all the sciences which have as their aim the search for order and measure are related to mathematics. | |
| From: René Descartes (Rules for the Direction of the Mind [1628], 04) | |
| A reaction: Note that he sound a more cautious note than Galileo's famous remark. It leaves room for biology to still be a science, even when it fails to be mathematical. |