13 ideas
| 17962 | The truth-maker principle is that every truth has a sufficient truth-maker [Forrest] |
| Full Idea: Item x is said to be a sufficient truth-maker for truth-bearer p just in case necessarily if x exists then p is true. ...Every truth has a sufficient truth-maker. Hence, I take it, the sum of all sufficient truth-makers is a universal truth-maker. | |
| From: Peter Forrest (General Facts,Phys Necessity, and Metaph of Time [2006], 1) | |
| A reaction: Note that it is not 'necessary', because something else might make p true instead. |
| 19419 | Not all of perception is accompanied by consciousness [Leibniz] |
| Full Idea: I do not think that the Cartesians have ever proved or can prove that every perception is accompanied by consciousness. | |
| From: Gottfried Leibniz (Principle of Life and Plastic Natures [1705], p.195) | |
| A reaction: This idea is very important in Leibniz, because non-conscious or barely conscious thoughts and perceptions explain a huge amount about behaviour, reality and morality. |
| 19421 | Souls act as if there were no bodies, and bodies act as if there were no souls [Leibniz] |
| Full Idea: Everything takes place in souls as if there were no body, and everything takes place in bodies as if there were no souls. | |
| From: Gottfried Leibniz (Principle of Life and Plastic Natures [1705], p.198) | |
| A reaction: I don't think I have ever encountered a modern thinker who accepts this view. Leibniz rejected Occasionalism, but his account depends entirely on the role of God, to set up the pre-established harmony. Why would God do that? |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 19420 | Death and generation are just transformations of an animal, augmented or diminished [Leibniz] |
| Full Idea: Death, like generation, is only the transformation of the same animal, which is sometimes augmented and sometimes diminished. | |
| From: Gottfried Leibniz (Principle of Life and Plastic Natures [1705], p.195) | |
| A reaction: Leibniz has a very unusual view of death, since neither minds nor their bodies can ever be wholly destroyed. Death is a kind of shrinking. I suspect that he was wrong about that. |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 19416 | Not all of matter is animated, any more than a pond full of living fish is animated [Leibniz] |
| Full Idea: It must not be said that each portion of matter is animated, just as we do not say that a pond full of fishes is an animated body, although a fish is. | |
| From: Gottfried Leibniz (Principle of Life and Plastic Natures [1705], p.190) | |
| A reaction: This is a particularly clear picture of the role of monads in matter. Monads are attached to bodies, which are entirely inanimate, but monads suffuse matter and give it its properties, like particularly bubbly champagne. Cf Idea 19422. |
| 19422 | Every particle of matter contains organic bodies [Leibniz] |
| Full Idea: There is no particle of matter which does not contain organic bodies. | |
| From: Gottfried Leibniz (Principle of Life and Plastic Natures [1705], p.198) | |
| A reaction: Cf Idea 19416. There seems to be an interaction problem here (solved, presumably, by pre-established harmony). The organic bodies are there to explain the active behaviour of matter, but the related matter seems intrinsically inert. |
| 19418 | Mechanics shows that all motion originates in other motion, so there is a Prime Mover [Leibniz] |
| Full Idea: The maxim that there is no motion which has not its origin in another motion, according to the laws of mechanics, leads us again to the Prime Mover. | |
| From: Gottfried Leibniz (Principle of Life and Plastic Natures [1705], p.194) | |
| A reaction: This is Leibniz's endorsement (uncredited) to Aquinas's First Way. It is hard to see how the laws of mechanics could have anything to say about the origin of movement. And doesn't the law say that the motions of God need a mover? |
| 19417 | All substances are in harmony, even though separate, so they must have one divine cause [Leibniz] |
| Full Idea: My system of Pre-established Harmony furnishes a new proof of God's existence, since it is manifest that the agreement of so many substances, of which the one has no influence upon the other, could only come from a general cause on which they all depend. | |
| From: Gottfried Leibniz (Principle of Life and Plastic Natures [1705], p.192) | |
| A reaction: Adjacent harmony seems self-explanatory, but remote harmony is interesting evidence for God. Hence modern quantum non-locality should make us all wonder whether there is a deeper explanation. |