7 ideas
| 16756 | Substantial forms must exist, to explain the stability of metals like silver and tin [Albertus Magnus] |
| Full Idea: There is no reason why the matter in any natural thing should be stable in its nature, if it is not completed by a substantial form. But we see that silver is stable, and tin and other metals. Therefore they will seem to be perfected by substantial forms. | |
| From: Albertus Magnus (On Minerals [1260], III.1.7), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 24.2 | |
| A reaction: Illuminating. This may be the best reason for proposing substantial forms. Once materialism arrives, the so-called 'laws' of nature have to be imposed on the material to do the job - but what the hell is a law supposed to be? |
| 22098 | Socrates neglects the gap between knowing what is good and doing good [Kierkegaard, by Carlisle] |
| Full Idea: There is a fundamental weakness in Socrates, that he does not take into account the gap between knowing what is good and actually putting this into action. | |
| From: report of Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: This rejects Socrates's intellectualism about weakness of will. It is perhaps a better criticism that Aristotle's view that desires sometimes overcome the will. It is also the problem of motivation in Kantian deontology. Or utilitarianism. |
| 8113 | Art is like understanding a natural language, and needs a grasp of a symbol system [Goodman, by Gardner] |
| Full Idea: In Goodman's account, knowing what a painting represents is logically like understanding a sentence in a natural language. It requires a grasp of the 'symbol system' to which the painting belongs. | |
| From: report of Nelson Goodman (The Languages of Art [1976]) by Sebastian Gardner - Aesthetics 2.3.2 | |
| A reaction: This may fit some pictures well (e.g. early Flemish painting, with its complex iconography), but others hardly at all. You can enjoy a first experience of (say) ballet long before you get the hang of the 'symbol system' involved. |
| 22096 | Anxiety is not a passing mood, but a response to human freedom [Kierkegaard, by Carlisle] |
| Full Idea: For Kierkegaard anxiety is not simply a mood or an emotion that certain people experience at certain times, but a basic response to freedom that is part of the human condition. | |
| From: report of Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: Outside of Christianity, this may be Kierkegaard's most influential idea - since existential individualism is floating around in the romantic movement. But the Byronic hero experiences a sort of anxiety. If you can't face anxiety, become a monk or nun. |
| 22097 | The ultimate in life is learning to be anxious in the right way [Kierkegaard] |
| Full Idea: Every human being must learn to be anxious in order that he might not perish either by never having been in anxiety or by succumbing in anxiety. Whoever has learned to be anxious in the right way has learnt the ultimate. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.154), quoted by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: I think this is the most existentialist quotation I have found in Kierkegaard. It sounds circular. You must be in anxiety because otherwise you won't be able to cope with anxiety? I suppose anxiety is facing up to his concept of truth. |
| 21909 | Ultimate knowledge is being anxious in the right way [Kierkegaard] |
| Full Idea: Whoever learns to be anxious in the right way has learned the ultimate. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.187), quoted by Alastair Hannay - Kierkegaard 06 | |
| A reaction: This shows us that Kierkegaard had a rather bizarre mental life which the rest of us have little chance of penetrating. I'll have a go at cataloguing my types of anxiety, but I'm not hopeful. |
| 20758 | Anxiety is staring into the yawning abyss of freedom [Kierkegaard] |
| Full Idea: One may liken anxiety to dizziness. He whose eyes chance to look down into a yawning abyss becomes dizzy. Anxiety is the dizziness of freedom which is when freedom gazes down into its own possibility, grasping at finiteness to sustain itself. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.55), quoted by Kevin Aho - Existentialism: an introduction 6 'Moods' | |
| A reaction: Most of us rapidly retreat from the thought of the infinity of things we might choose. Choosing bizarrely merely to assert one's freedom is simple stupidity. |