13 ideas
| 13795 | Properties only have identity in the context of their contraries [Elder] |
| Full Idea: The very being, the identity, of any property consists at least in part in its contrasting as it does with its own proper contraries. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 2.4) | |
| A reaction: See Elder for the details of this, but the idea that properties can only be individuated contextually sounds promising. |
| 13798 | Maybe we should give up the statue [Elder] |
| Full Idea: Some contemporary metaphysicians infer that one of the objects must go, namely, the statue. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 7.2) | |
| A reaction: [He cites Zimmerman 1995] This looks like a recipe for creating a vast gulf between philosophers and the rest of the population. If it is right, it makes the true ontology completely useless in understanding our daily lives. |
| 13797 | The loss of an essential property means the end of an existence [Elder] |
| Full Idea: The loss of any essential property must amount to the end of an existence. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 3) | |
| A reaction: This is orthodoxy for essentialists, and I presume that Aristotle would agree, but I have a problem with the essence of a great athlete, who then grows old. Must we say that they lose their identity-as-an-athlete? |
| 13794 | Essential properties by nature occur in clusters or packages [Elder] |
| Full Idea: Essential properties by nature occur in clusters or packages. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 2.2) | |
| A reaction: Elder proposes this as his test for the essentialness of a property - his Test of Flanking Uniformities. A nice idea. |
| 13796 | Essential properties are bound together, and would be lost together [Elder] |
| Full Idea: The properties of any essential nature are bound together....[122] so any case in which one of our envisioned familiar objects loses one of its essential properties will be a case in which it loses several. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 3) | |
| A reaction: This sounds like a fairly good generalisation rather than a necessary truth. Is there a natural selection for properties, so that only the properties which are able to bind to others to form teams are able to survive and flourish? |
| 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. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |