32 ideas
| 17651 | Without words or other symbols, we have no world [Goodman] |
| Full Idea: We can have words without a world but no world without words or other symbols. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.3) | |
| A reaction: Goodman seems to have a particularly extreme version of the commitment to philosophy as linguistic. Non-human animals have no world, it seems. |
| 17652 | Truth is irrelevant if no statements are involved [Goodman] |
| Full Idea: Truth pertains solely to what is said ...For nonverbal versions and even for verbal versions without statements, truth is irrelevant. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.5) | |
| A reaction: Goodman is a philosopher of language (like Dummett), but I am a philosopher of thought (like Evans). The test, for me, is whether truth is applicable to the thought of non-human animals. I take it to be obvious that it is applicable. |
| 16456 | For modality Lewis rejected boxes and diamonds, preferring worlds, and an index for the actual one [Lewis, by Stalnaker] |
| Full Idea: Lewis was suspicious of boxes and diamonds as regimenting ordinary modal thought, …preferring a first-order extensional theory including possible worlds in its domain and an indexical singular term for the actual world. | |
| From: report of David Lewis (Anselm and Actuality [1970]) by Robert C. Stalnaker - Mere Possibilities 3.8 |
| 17656 | Being primitive or prior always depends on a constructional system [Goodman] |
| Full Idea: Nothing is primitive or derivationally prior to anything apart from a constructional system. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4c) | |
| A reaction: Something may be primitive not just because we can't be bothered to analyse it any further, but because even God couldn't analyse it. Maybe. |
| 17661 | We don't recognise patterns - we invent them [Goodman] |
| Full Idea: Recognising patterns is very much a matter of inventing or imposing them. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.7) | |
| A reaction: I take this to be false. |
| 17659 | Reality is largely a matter of habit [Goodman] |
| Full Idea: Reality in a world, like realism in a picture, is largely a matter of habit. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.6) | |
| A reaction: I'm a robust realist, me, but I sort of see what he means. We become steeped in unspoken conventions about how we take our world to be, and filter out anything that conflicts with it. |
| 17657 | We build our world, and ignore anything that won't fit [Goodman] |
| Full Idea: We dismiss as illusory or negligible what cannot be fitted into the architecture of the world we are building. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4d) | |
| A reaction: I'm trying to think of an example of this, but can't. Maybe poor people are invisible to the rich? |
| 17654 | A world can be full of variety or not, depending on how we sort it [Goodman] |
| Full Idea: A world may be unmanageably heterogeneous or unbearably monotonous according to how events are sorted into kinds. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4a) | |
| A reaction: We might expect this from the man who invented 'grue', which allows you to classify things that change colour with things that don't. Could you describe a bird as 'might have been a fish', and classify it with fish? ('Projectible'?) |
| 17653 | Things can only be judged the 'same' by citing some respect of sameness [Goodman] |
| Full Idea: Identification rests upon organization into entities and kinds. The response to the question 'Same or not the same?' must always be 'Same what?'. ...Identity or constancy in a world is identity with respect to what is within that world as organised. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4a) | |
| A reaction: And the gist of his book is that 'organised' is done by us, not by the world. He seems to be committed to the full Geachean relative identity, rather than the mere Wigginsian relative individuation. An unfashionable view! |
| 17660 | Discovery is often just finding a fit, like a jigsaw puzzle [Goodman] |
| Full Idea: Discovery often amounts, as when I place a piece in a jigsaw puzzle, not to arrival at a proposition for declaration or defense, but to finding a fit. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.7) | |
| A reaction: I find Goodman's views here pretty alien, but I like this bit. Coherence really rocks. |
| 17658 | Users of digital thermometers recognise no temperatures in the gaps [Goodman] |
| Full Idea: To use a digital thermometer with readings in tenths of a degree is to recognise no temperature as lying between 90 and 90.1 degrees. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4d) | |
| A reaction: This appears to be nonsense, treating users of digital thermometers as if they were stupid. No one thinks temperatures go up and down in quantum leaps. We all know there is a gap between instrument and world. (Very American, I'm thinking!) |
| 17650 | We lack frames of reference to transform physics, biology and psychology into one another [Goodman] |
| Full Idea: We have no neat frames of reference, no ready rules for transforming physics, biology and psychology into one another. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.2) |
| 17655 | Grue and green won't be in the same world, as that would block induction entirely [Goodman] |
| Full Idea: Grue cannot be a relevant kind for induction in the same world as green, for that would preclude some of the decisions, right or wrong, that constitute inductive inference. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4b) | |
| A reaction: This may make 'grue' less mad than I thought it was. I always assume we are slicing the world as 'green, blue and grue'. I still say 'green' is a basic predicate of experience, but 'grue' is amenable to analysis. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 17649 | If the world is one it has many aspects, and if there are many worlds they will collect into one [Goodman] |
| Full Idea: If there is but one world, it embraces a multiplicity of contrasting aspects; if there are many worlds, the collection of them all is one. One world may be taken as many, or many worlds taken as one; whether one or many depends on the way of taking. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.2) | |
| A reaction: He cites 'The Pluralistic Universe' by William James for this idea. The idea is that the distinction 'evaporates under analysis'. Parmenides seems to have thought that no features could be distinguished in the true One. |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |