40 ideas
| 23755 | Genius and love of truth are always accompanied by great humility [Weil] |
| Full Idea: Love of truth is always accompanied by humility, and real genius is nothing else but the supernatural virtue of humility in the domain of thought. | |
| From: Simone Weil (Human Personality [1943], p.87) | |
| A reaction: A striking and attractive thought, true of all the lovers of truth I have ever encountered. Socrates is the role model. She likens truth to an inarticulate plaintiff stammering before a judge who fluently manipulates opinions. |
| 8195 | Undecidable statements result from quantifying over infinites, subjunctive conditionals, and the past tense [Dummett] |
| Full Idea: I once wrote that there are three linguistic devices that make it possible for us to frame undecidable statements: quantification over infinity totalities, as expressed by word such as 'never'; the subjunctive conditional form; and the past tense. | |
| From: Michael Dummett (Truth and the Past [2001], 4) | |
| A reaction: Dummett now repudiates the third one. Statements containing vague concepts also appear to be undecidable. Personally I have no problems with deciding (to a fair extent) about 'never x', and 'if x were true', and 'it was x'. |
| 8194 | Surely there is no exact single grain that brings a heap into existence [Dummett] |
| Full Idea: There is surely no number n such that "n grains of sand do not make a heap, although n+1 grains of sand do" is true. | |
| From: Michael Dummett (Truth and the Past [2001], 4) | |
| A reaction: It might be argued that there is such a number, but no human being is capable of determing it. Might God know the value of n? On the whole Dummett's view seems the most plausible. |
| 8190 | Intuitionists rely on the proof of mathematical statements, not their truth [Dummett] |
| Full Idea: The intuitionist account of the meaning of mathematical statements does not employ the notion of a statement's being true, but only that of something's being a proof of the statement. | |
| From: Michael Dummett (Truth and the Past [2001], 2) | |
| A reaction: I remain unconvinced that anyone could give an account of proof that didn't discreetly employ the notion of truth. What are we to make of "we suspect this is true, but no one knows how to prove it?" (e.g. Goldbach's Conjecture). |
| 8198 | A 'Cambridge Change' is like saying 'the landscape changes as you travel east' [Dummett] |
| Full Idea: The idea of 'Cambridge Change' is like saying 'the landscape changes as you travel east'. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: The phrase was coined in Oxford. It is a useful label with which realists can insult solipsists, idealists and other riff-raff. Four Dimensionalists seem to see time in this way. Events sit there, and we travel past them. But there are indexical events. |
| 8192 | I no longer think what a statement about the past says is just what can justify it [Dummett] |
| Full Idea: In distinguishing between what can establish a statement about the past as true and what it is that that statement says, we are repudiating antirealism about the past. | |
| From: Michael Dummett (Truth and the Past [2001], 3) | |
| A reaction: This is a late shift of ground from the champion of antirealism. If Dummett's whole position is based on a 'justificationist' theory of meaning, he must surely have a different theory of meaning now for statements about the past? |
| 8199 | The existence of a universe without sentience or intelligence is an unintelligible fantasy [Dummett] |
| Full Idea: The existence of a universe from which sentience was permanently absent is an unintelligible fantasy. What exists is what can be known to exist. What is true is what can be known to be true. Reality is what can be experienced and known. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: This strikes me as nonsense. The fact that we cannot think about a universe without introducing a viewpoint does not mean that we cannot 'intellectually imagine' its existence devoid of viewpoints. Nothing could ever experience a star's interior. |
| 23747 | What is sacred is not a person, but the whole physical human being [Weil] |
| Full Idea: There is something sacred in every man, but it is not his person. Nor yet is it the human personality. It is this man; no more and no less. …It is he. The whole of him. The arms, they eyes, the thoughts, everything. | |
| From: Simone Weil (Human Personality [1943], p,70) | |
| A reaction: I take her to be referring to exactly the concept of a 'person' which Locke introduced. It is important to remember that his concept is mainly forensic - as a concept of ownership and contracts. A person is an abstraction. Even a corpse is a human. |
| 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. |
| 23756 | The mind is imprisoned and limited by language, restricting our awareness of wider thoughts [Weil] |
| Full Idea: At the very best, a mind is enclosed in language is in a prison. It is limited to the number of relations which words can make simultaneously present to it; and remains in ignorance of thoughts which involve the combination of a greater number. | |
| From: Simone Weil (Human Personality [1943], p.89) | |
| A reaction: This seems to be a germ of the type of view of language which blossoms in Derrida. But she is on to something. None of us grasp fully, I think, the non-linguistic nature of good thinking. |
| 8193 | Verification is not an individual but a collective activity [Dummett] |
| Full Idea: Verification is not an individual but a collective activity. | |
| From: Michael Dummett (Truth and the Past [2001], 3) | |
| A reaction: This generates problems. Are deceased members of the community included? (Yes, says Dummett). If someone speaks to angels (Blake!), do they get included? Is a majority necessary? What of weird loners? Etc. |
| 8189 | Truth-condition theorists must argue use can only be described by appeal to conditions of truth [Dummett] |
| Full Idea: To demonstrate the necessity of a truth-conditional theory of meaning, a proponent of such a theory must argue that use cannot be described without appeal to the conditions for the truth of statements. | |
| From: Michael Dummett (Truth and the Past [2001], 1) | |
| A reaction: Unlike Dummett, I find that argument rather appealing. How do you decide the possible or appropriate use for a piece of language, if you don't already know what it means. Basing it all on social conventions means it could be meaningless ritual. |
| 8191 | The truth-conditions theory must get agreement on a conception of truth [Dummett] |
| Full Idea: It is not enough for the truth-condition theorist to argue that we need the concept of truth: he must show that we should have the same conception of truth that he has. | |
| From: Michael Dummett (Truth and the Past [2001], 2) | |
| A reaction: Davidson invites us to accept Tarski's account of truth. It invites the question of what the theory would be like with a very robust correspondence account of truth, or a flabby rather subjective coherence view, or the worst sort of pragmatic view. |
| 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. |
| 23758 | Beauty is an attractive mystery, leaving nothing to be desired [Weil] |
| Full Idea: Beauty is the supreme mystery of the world. It is a gleam which attracts the attention and yet does nothing to sustain it. …While exciting desire, it makes clear that there is nothing in it to be desired, because what we want is that it should not change. | |
| From: Simone Weil (Human Personality [1943], p.92) | |
| A reaction: She attributes beauty to a supernatural source. I catalogue this idea under 'the sublime', rather than 'beauty'. It may be better to say that beauty inspires love, rather than desire. |
| 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. |
| 23760 | All we need are the unity of justice, truth and beauty [Weil] |
| Full Idea: Justice, truth, and beauty are sisters and comrades. With three such beautiful words we have no need to look for any others. | |
| From: Simone Weil (Human Personality [1943], p.93) | |
| A reaction: The embodiment of platonist values. Without the platonist ontology, I like the identification of a few core values, and have always thought that Beauty, Goodness and Truth were a well chosen trio. Swapping 'justice' for 'goodness' is interesting. |
| 23748 | The sacred in every human is their expectation of good rather than evil [Weil] |
| Full Idea: At the bottom of every human heart …there is something that goes on indomitably expecting, in the teeth of all crimes committed, suffered and witnessed, that good and not evil will be done to him. It is this above all that is sacred in every human being. | |
| From: Simone Weil (Human Personality [1943], p.71) | |
| A reaction: I'm thinking that this expectation may come from having at least one loving parent, and failing that there are people who have no such expectation as adults. Simone obviously thinks the hope runs deeper than that. |
| 23759 | Everything which originates in love is beautiful [Weil] |
| Full Idea: Everything which originates from pure love is lit with the radiance of beauty. | |
| From: Simone Weil (Human Personality [1943], p.93) | |
| A reaction: I suppose if I found a counterexample, she would say that is not 'pure' love. This sentence leaves open the possibility of beauty in the absence of love (such as a beautiful face noticed in the street). In her case, can beauty and love be separated? |
| 23762 | Evil is transmitted by comforts and pleasures, but mostly by doing harm to people [Weil] |
| Full Idea: One may transmit evil to a human being by flattering him or giving him comforts and pleasures; but most often men transmit evil to other men by doing them harm. | |
| From: Simone Weil (Human Personality [1943], p.94) | |
| A reaction: Some people receive harm very passively, especially if it is normal. What of tough love, which is erroneously seen as harm? |
| 23750 | It is not more money which the wretched members of society need [Weil] |
| Full Idea: Suppose the devil were bargaining for the soul of some wretch, and some pitying person said to the devil 'Shame on you, that commodity is worth twice as much'. Such is the sinister farce played by the working class unions, parties and intellectuals. | |
| From: Simone Weil (Human Personality [1943], p.80) | |
| A reaction: A striking thought. It is paradoxical when the working classes despise the middle classes, and yet aspire to be like them. It's hard to know what a mystic like Weil has in mind. An obvious thought is that the aspiration should be freedom, not money. |
| 23749 | The problem of the collective is not suppression of persons, but persons erasing themselves [Weil] |
| Full Idea: The chief danger does not lie in the collectivity's tendency to circumscribe the person, but in the person's tendency to immolate himself in the collective. | |
| From: Simone Weil (Human Personality [1943], p.78) | |
| A reaction: I'm guessing that in 1943 she had in mind both Nazis and Communists. She seems to articulate a strong form of liberalism in an interesting way. It sounds like a form of Bad Faith. |
| 23753 | People absurdly claim an equal share of things which are essentially privileged [Weil] |
| Full Idea: To the dimmed understanding of our age there seems nothing odd in claiming an equal share of privilege for everybody - an equal share in things whose essence is privilege. | |
| From: Simone Weil (Human Personality [1943], p.84) | |
| A reaction: Not sure what she has in mind. Probably not the finest food and drink. I suppose she is attacking the modern egalitarian view of democratic society. What things have privilege as their 'essence'? Being a 'winner'? Interesting, though. |
| 23751 | Rights are asserted contentiously, and need the backing of force [Weil] |
| Full Idea: Rights are always asserted in a tone of contention; and when this tone is adopted, it must rely upon force in the background, or else it will be laughed at. | |
| From: Simone Weil (Human Personality [1943], p.81) | |
| A reaction: This is the sort of observation which leads on to Foucault's account of all-pervasive power. Her observation may not be so sinister. It is obvious that introductions of new rights go against the grain of a conservative society - and so need a push. |
| 23752 | Giving centrality to rights stifles all impulses of charity [Weil] |
| Full Idea: To place the notion of rights at the centre of social conflicts is to inhibit any possible impulse of charity on both sides. | |
| From: Simone Weil (Human Personality [1943], p.83) | |
| A reaction: I think she exaggerates. To place personal charity at the centre of social conflicts strikes me as extremely conservative, and unlikely to improve the situation very much. I'm unsure how to reconcile this with Idea 23750. What sort of charity? |
| 23757 | The spirit of justice needs the full attention of truth, and that attention is love [Weil] |
| Full Idea: Because affliction and truth need the same kind of attention …the spirit of justice and the spirit of truth are one. The spirit of justice and truth is nothing else be a certain kind of attention, which is pure love. | |
| From: Simone Weil (Human Personality [1943], p.92) | |
| A reaction: I'm not sure about this as an observation, but as an inspiration it is very appealing, and (as so often with Weil) strikingly and attractively independent. I prefer love to arise naturally, rather than be a product of exhortation. |
| 23761 | Justice (concerning harm) is distinct from rights (concerning inequality) [Weil] |
| Full Idea: Justice is seeing that no harm is done to men. When a man cries inwardly 'Why am I being hurt?' he is being harmed. The other cry of 'Why have others got more than me?' refers to rights. We must distinguish them, and hush the second with law. | |
| From: Simone Weil (Human Personality [1943], p.93) | |
| A reaction: Her great passion is for justice, and so she downplays rights. The simple 'why am I being hurt?' has a horrible resonance in 1943. What of the hurts of disease? Are they unjust? |
| 23764 | The only thing in society worse than crime is repressive justice [Weil] |
| Full Idea: There is one, and only one, thing in society more hideous than crime - namely, repressive justice. | |
| From: Simone Weil (Human Personality [1943], p.95) | |
| A reaction: Presumably fans of 'repressive' justice would describe it as 'reformative' justice. In general, one of the most hideous parts of historical human societies has been the punishments they dished out (simply because they had the power to do it). |
| 23763 | Punishment aims at the good for men who don't desire it [Weil] |
| Full Idea: Punishment is solely a method of procuring pure good for men who do not desire it. The art of punishing is the art of awakening in a criminal, by pain or even death, the desire for pure good. | |
| From: Simone Weil (Human Personality [1943], p.95) | |
| A reaction: I know Weil is seen as some sort of saint, but this remark could have come from the Inquisition. I'm always alarmed by talk of 'pure' good and 'pure' evil, which seem to need a superior insight the rest of us lack. But see Idea 23764. |
| 8197 | Maybe past (which affects us) and future (which we can affect) are both real [Dummett] |
| Full Idea: Maybe both the past and the future are real, determined by our current temporal perspective. Past is then events capable of having a causal influence upon events near us, and future is events we can affect, but from which we receive no information. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: This is the Four-Dimensional view, which is opposed to Presentism. Might immediate unease is that it gives encouragement to fortune-tellers, whom I have always dismissed with 'You can't see the future, because it doesn't exist'. |
| 8196 | The present cannot exist alone as a mere boundary; past and future truths are rendered meaningless [Dummett] |
| Full Idea: The idea that only the present is real cannot be sustained. St Augustine pointed out that the present has no duration; it is a mere boundary between past and future, and dependent on them. It also denies truth-value to statements about past or future. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: To defend Presentism, I suspect that one must focus entirely on the activities of consciousness and short-term memory. All truths, of past or future, must refer totally to such mental events. But what could an event be if there is no enduring time? |
| 23754 | The only choice is between supernatural good, or evil [Weil] |
| Full Idea: In all the crucial problems of human existence the only choice is between supernatural good on the one hand and evil on the other. | |
| From: Simone Weil (Human Personality [1943], p.86) | |
| A reaction: This idea strikes me as absurd, but I include it for a fuller picture of Simone Weil. Aristotle (my hero) is referred to, and labelled as more stupid than a village idiot. |