27 ideas
| 9331 | How do we determine which of the sentences containing a term comprise its definition? [Horwich] |
| Full Idea: How are we to determine which of the sentences containing a term comprise its definition? | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §2) | |
| A reaction: Nice question. If I say 'philosophy is the love of wisdom' and 'philosophy bores me', why should one be part of its definition and the other not? What if I stipulated that the second one is part of my definition, and the first one isn't? |
| 9333 | A priori belief is not necessarily a priori justification, or a priori knowledge [Horwich] |
| Full Idea: It is one thing to believe something a priori and another for this belief to be epistemically justified. The latter is required for a priori knowledge. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: Personally I would agree with this, because I don't think anything should count as knowledge if it doesn't have supporting reasons, but fans of a priori knowledge presumably think that certain basic facts are just known. They are a priori justified. |
| 9342 | Understanding needs a priori commitment [Horwich] |
| Full Idea: Understanding is itself based on a priori commitment. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: This sounds plausible, but needs more justification than Horwich offers. This is the sort of New Rationalist idea I associate with Bonjour. The crucial feature of the New lot is, I take it, their fallibilism. All understanding is provisional. |
| 9332 | Meaning is generated by a priori commitment to truth, not the other way around [Horwich] |
| Full Idea: Our a priori commitment to certain sentences is not really explained by our knowledge of a word's meaning. It is the other way around. We accept a priori that the sentences are true, and thereby provide it with meaning. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: This sounds like a lovely trump card, but how on earth do you decide that a sentence is true if you don't know what it means? Personally I would take it that we are committed to the truth of a proposition, before we have a sentence for it. |
| 9341 | Meanings and concepts cannot give a priori knowledge, because they may be unacceptable [Horwich] |
| Full Idea: A priori knowledge of logic and mathematics cannot derive from meanings or concepts, because someone may possess such concepts, and yet disagree with us about them. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: A good argument. The thing to focus on is not whether such ideas are a priori, but whether they are knowledge. I think we should employ the word 'intuition' for a priori candidates for knowledge, and demand further justification for actual knowledge. |
| 9334 | If we stipulate the meaning of 'number' to make Hume's Principle true, we first need Hume's Principle [Horwich] |
| Full Idea: If we stipulate the meaning of 'the number of x's' so that it makes Hume's Principle true, we must accept Hume's Principle. But a precondition for this stipulation is that Hume's Principle be accepted a priori. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §9) | |
| A reaction: Yet another modern Quinean argument that all attempts at defining things are circular. I am beginning to think that the only a priori knowledge we have is of when a group of ideas is coherent. Calling it 'intuition' might be more accurate. |
| 9339 | A priori knowledge (e.g. classical logic) may derive from the innate structure of our minds [Horwich] |
| Full Idea: One potential source of a priori knowledge is the innate structure of our minds. We might, for example, have an a priori commitment to classical logic. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §11) | |
| A reaction: Horwich points out that to be knowledge it must also say that we ought to believe it. I'm wondering whether if we divided the whole territory of the a priori up into intuitions and then coherent justifications, the whole problem would go away. |
| 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. |
| 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. |
| 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! |
| 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. |
| 11945 | In addition to laws, God must also create appropriate natures for things [Leibniz] |
| Full Idea: It isn't sufficient to say that God has made a general law, for in addition to the decree there has also to be a natural way of carrying it out. It is necessary, that is, that what happens should be explicable in terms of the God-given nature of things. | |
| From: Gottfried Leibniz (Letter to the Editor about Bayle [1698], p.205) | |
| A reaction: Thus Leibniz is an ancestor of scientific essentialism, but he was too frightened to take the next step, which is to see that once God has endowed the natures, he doesn't need to wield his laws as well. The natures will do the whole job. |
| 19348 | All that is real in motion is the force or power which produces change [Leibniz] |
| Full Idea: As for motion, what is real in it is force or power; that is to say, what there is in the present state which carries with it a change in the future. The rest is only phenomena and relations. | |
| From: Gottfried Leibniz (Letter to the Editor about Bayle [1698], §13) | |
| A reaction: This presumably contradicts Newton's concept of inertia, which allows constant motion without force. I always like a reference to powers. What is 'kinetic energy' in this context? |
| 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? |