18 ideas
| 5044 | Reality must be made of basic unities, which will be animated, substantial points [Leibniz] |
| Full Idea: A multiplicity can only be made up of true unities, ..so I had recourse to the idea of a real and animated point, or an atom of substance which must embrace some element of form or of activity in order to make a complete being. | |
| From: Gottfried Leibniz (New System and Explanation of New System [1696], p.116) | |
| A reaction: This seems to be a combination of logical atomism and panpsychism. It has a certain charm, but looks like another example of these rationalist speculators overreaching themselves. |
| 5045 | No machine or mere organised matter could have a unified self [Leibniz] |
| Full Idea: By means of the soul or form, there is a true unity which is called the 'I' in us; a thing which could not occur in artificial machines, nor in the simple mass of matter, however organised it may be. | |
| From: Gottfried Leibniz (New System and Explanation of New System [1696], p.120) | |
| A reaction: I think the unity of consciousness and the unified Self are different phenomena. A wonderful remark about artificial intelligence for 1696! Note the idea of functionalism contained in 'organised'. Personally I see the brain as a 'mass of matter'. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 5046 | The soul does know bodies, although they do not influence one another [Leibniz] |
| Full Idea: I do not admit that the soul does not know bodies, although this knowledge arises without their influencing one another. | |
| From: Gottfried Leibniz (New System and Explanation of New System [1696], Reply 11) | |
| A reaction: He couldn't very well admit this without moving into pure idealism. Presumably it is like "I know her - she'll be in Harrods this morning". I wonder if Satan could steal my body, but my mind continue to believe it was still there? |
| 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. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 5043 | To regard animals as mere machines may be possible, but seems improbable [Leibniz] |
| Full Idea: It seems to me that the opinion of those who transform or degrade the lower animals into mere machines, although it seems possible, is improbable, and even against the order of things. | |
| From: Gottfried Leibniz (New System and Explanation of New System [1696], p.116) | |
| A reaction: His target is Descartes. 'Against the order of things' seems to beg the question. What IS the order of things? Only a thorough-going dualist would worry about this question, and that isn't me. |