30 ideas
9108 | From an impossibility anything follows [William of Ockham] |
Full Idea: From an impossibility anything follows ('quod ex impossibili sequitur quodlibet'). | |
From: William of Ockham (Summa totius logicae [1323], III.c.xxxvi) | |
A reaction: The hallmark of a true logician, I suspect, is that this opinion is really meaningful and important to them. They yearn to follow the logic wherever it leads. Common sense would seem to say that absolutely nothing follows from an impossibility. |
9107 | A proposition is true if its subject and predicate stand for the same thing [William of Ockham] |
Full Idea: If in the proposition 'This is an angel' subject and predicate stand for the same thing, the proposition is true. | |
From: William of Ockham (Summa totius logicae [1323], II.c.ii) | |
A reaction: An interesting statement of what looks like a correspondence theory, employing the idea that both the subject and the predicate have a reference. I think Frege would say that 'x is an angel' is unsaturated, and so lacks reference. |
16300 | Ockham had an early axiomatic account of truth [William of Ockham, by Halbach] |
Full Idea: Theories structurally very similar to axiomatic compositional theories of truth can be found in Ockham's 'Summa Logicae'. | |
From: report of William of Ockham (Summa totius logicae [1323]) by Volker Halbach - Axiomatic Theories of Truth 3 |
9106 | The word 'every' only signifies when added to a term such as 'man', referring to all men [William of Ockham] |
Full Idea: The syncategorematic word 'every' does not signify any fixed thing, but when added to 'man' it makes the term 'man' stand for all men actually. | |
From: William of Ockham (Summa totius logicae [1323], I.c.iv) | |
A reaction: Although quantifiers may have become a part of formal logic with Frege, their importance is seen from Aristotle onwards, and it is clearly a key part of William's understanding of logic. |
9113 | Just as unity is not a property of a single thing, so numbers are not properties of many things [William of Ockham] |
Full Idea: Number is nothing but the actual numbered things themselves. Hence just as unity is not an accident added to the thing which is one, so number is not an accident of the things which are numbered. | |
From: William of Ockham (Summa totius logicae [1323], I.c.xliv) | |
A reaction: [William does not necessarily agree with this view] It strikes me as a key point here that any account of the numbers had better work for 'one', though 'zero' might be treated differently. Some people seem to think unity is a property of things. |
9110 | The words 'thing' and 'to be' assert the same idea, as a noun and as a verb [William of Ockham] |
Full Idea: The words 'thing' and 'to be' (esse) signify one and the same thing, but the one in the manner of a noun and the other in the manner of a verb. | |
From: William of Ockham (Summa totius logicae [1323], III,II,c,xxvii) | |
A reaction: Well said - as you would expect from a thoroughgoing nominalist. I would have thought that this was the last word on the subject of Being, thus rendering any need for me to read Heidegger quite superfluous. Or am I missing something? |
15388 | Universals are single things, and only universal in what they signify [William of Ockham] |
Full Idea: Every universal is one particular thing and it is not a universal except in its signification, in its signifying many thing. | |
From: William of Ockham (Summa totius logicae [1323]), quoted by Claude Panaccio - Medieval Problem of Universals 'William' | |
A reaction: Sounds as if William might have liked tropes. It seems to leave the problem unanswered (the 'ostrich' problem?). How are they able to signify in this universal way, if each thing is just distinct and particular? |
9109 | If essence and existence were two things, one could exist without the other, which is impossible [William of Ockham] |
Full Idea: If essence and existence were two things, then no contradiction would be involved if God preserved the essence of a thing in the world without its existence, or vice versa, its existence without its essence; both of which are impossible. | |
From: William of Ockham (Summa totius logicae [1323], III,II,c,xxvii) | |
A reaction: Not that William is using the concept of a supreme mind as a tool in argument. His denial of essence as something separable is presumably his denial of the Aristotelian view of universals, as well as of the Platonic view. |
7518 | If folk psychology gives a network of causal laws, that fits neatly with functionalism [Churchland,PM] |
Full Idea: The portrait of folk psychology as a network of causal laws dovetailed neatly with the emerging philosophy of mind called functionalism. | |
From: Paul M. Churchland (Folk Psychology [1996], II) | |
A reaction: And from the lower levels functionalism is supported by the notion that the brain is modular. Note the word 'laws'; this implies an underlying precision in folk psychology, which is then easily attacked. Maybe the network is too complex for simple laws. |
7519 | Many mental phenomena are totally unexplained by folk psychology [Churchland,PM] |
Full Idea: Folk psychology fails utterly to explain a considerable variety of central psychological phenomena: mental illness, sleep, creativity, memory, intelligence differences, and many forms of learning, to cite just a few. | |
From: Paul M. Churchland (Folk Psychology [1996], III) | |
A reaction: If folk psychology is a theory, it will have been developed to predict behaviour, rather than as a full-blown psychological map. The odd thing is that some people seem to be very bad at folk psychology. |
7520 | Folk psychology never makes any progress, and is marginalised by modern science [Churchland,PM] |
Full Idea: Folk psychology has not progressed significantly in the last 2500 years; if anything, it has been steadily in retreat during this period; it does not integrate with modern science, and its emerging wallflower status bodes ill for its future. | |
From: Paul M. Churchland (Folk Psychology [1996], III) | |
A reaction: [compressed] However, while shares in alchemy and astrology have totally collapsed, folk psychology shows not the slightest sign of going away, and it is unclear how it ever could. See Idea 3177. |
9105 | Some concepts for propositions exist only in the mind, and in no language [William of Ockham] |
Full Idea: Conceptual terms and the propositions formed by them are those mental words which do not belong to any language; they remain only in the mind and cannot be uttered exteriorly, though signs subordinated to these can be exteriorly uttered. | |
From: William of Ockham (Summa totius logicae [1323], I.c.i) | |
A reaction: [He cites Augustine] A glimmer of the idea of Mentalese, and is probably an integral part of any commitment to propositions. Quine would hate it, but I like it. Logicians seem to dislike anything that cannot be articulated, but brains are like that. |
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. |
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? |