17 ideas
| 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. |
| 2599 | Either intentionality causes things, or epiphenomenalism is true [Fodor] |
| Full Idea: The avoidance of epiphenomenalism requires making it plausible that intentional properties can meet sufficient conditions for causal responsibility. | |
| From: Jerry A. Fodor (Making Mind Matter More [1989], p.154) | |
| A reaction: A wordy way of saying we either have epiphenomenalism, or the mind had better do something - and a good theory will show how. The biggest problem of the mind may not be Chalmer's Hard Question (qualia), but how thought-contents cause things. |
| 2597 | Contrary to the 'anomalous monist' view, there may well be intentional causal laws [Fodor] |
| Full Idea: I argue that (contrary to the doctrine called "anomalous monism") there is no good reason to doubt that there are intentional causal laws. | |
| From: Jerry A. Fodor (Making Mind Matter More [1989], p.151) | |
| A reaction: I certainly can't see a good argument, in Davidson or anywhere else, to demonstrate their impossibility. Give the complexity of the brain, they would be like the 'laws' for weather or geology. |
| 2598 | Lots of physical properties are multiply realisable, so why shouldn't beliefs be? [Fodor] |
| Full Idea: If one of your reasons for doubting that believing-that-P is a physical property is that believing is multiply realizable, then you have the same reason for doubting that being an airfoil (or a mountain) counts as a physical property. | |
| From: Jerry A. Fodor (Making Mind Matter More [1989], p.153) | |
| A reaction: This merely points out that functionalism is not incompatible with physicalism, which must be right. |
| 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. |