36 ideas
| 9240 | Love creates a necessity concerning what to care about [Frankfurt] |
| Full Idea: The necessity with which love binds the will puts an end to indecisiveness concerning what to care about. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.13) | |
| A reaction: I put this here as a reminder that there may be more to necessity than the dry concept of metaphysicians and logicians. 'Why did you rescue that man first?' 'Because I love him'. Kit Fine recognises many sorts of necessity. |
| 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. |
| 9228 | Ranking order of desires reveals nothing, because none of them may be considered important [Frankfurt] |
| Full Idea: Ranking desires in order of preference is no help, because a person who wants one thing more than another may not regard the former as any more important to him than the latter. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.5) | |
| A reaction: A salutary warning. Someone may pursue something with incredible intensity, but only to stave off a boring and empty existence. The only way I can think of to assess what really matters to people is - to ask them! |
| 9238 | Morality isn't based on reason; moral indignation is quite unlike disapproval of irrationality [Frankfurt] |
| Full Idea: The ultimate warrant for moral principles cannot be found in reason. The sort of opprobrium that attaches to moral transgressions is quite unlike the sort of opprobrium that attaches to the requirements of reason. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.5 n6) | |
| A reaction: More like a piece of evidence than a proper argument. We may not feel indignant if someone fails a maths exam, but we might if they mess up the arithmetic of our bank account, even though they meant well. |
| 9232 | It is by caring about things that we infuse the world with importance [Frankfurt] |
| Full Idea: It is by caring about things that we infuse the world with importance. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.10) | |
| A reaction: This book is a lovely attempt at getting to the heart of where values come from. 'Football isn't a matter of life and death; it's more important than that' - Bill Shankly (manager of Liverpool). Frankfurt is right. |
| 9234 | If you don't care about at least one thing, you can't find reasons to care about anything [Frankfurt] |
| Full Idea: It is not possible for a person who does not already care at least about something to discover reasons for caring about anything. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.11) | |
| A reaction: This is the key idea of this lovely book. Without a glimmer of love somewhere, it is not possible to bootstrap a meaningful life. The glimmer of caring about one thing is transferable. See the Ancient Mariner and the watersnake. |
| 9229 | What is worthwhile for its own sake alone may be worth very little [Frankfurt] |
| Full Idea: What is worth having or worth doing for its own sake alone may nonetheless be worth very little. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.5) | |
| A reaction: That is one of my cherished notions sunk without trace! Aristotle's idea that ends are what matter, not means, always struck me as crucial. But Frankfurt is right. Collecting trivia is done for its own sake. Great tasks are performed as a means. |
| 9233 | Our criteria for evaluating how to live offer an answer to the problem [Frankfurt] |
| Full Idea: Identifying the criteria to be employed in evaluating various ways of living is also tantamount to providing an answer to the question of how to live. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.10) | |
| A reaction: Presumably critical reflection is still possible about those criteria, even though he implies that they just arise out of you (in a rather Nietzschean way). The fear is that critical reflection on basic criteria kills in infant in its cradle. |
| 9235 | Rather than loving things because we value them, I think we value things because we love them [Frankfurt] |
| Full Idea: It is often understood that we begin loving things because we are struck by their value. ..However, what I have in mind is rather that what we love necessarily acquires value for us because we love it. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.3) | |
| A reaction: The uneasy thought here is that this makes value much less rational. If you love because you value, you could probably give reasons for the value. If love comes first it must be instinctive. He says he loved his children before they were born. |
| 9236 | Love can be cool, and it may not involve liking its object [Frankfurt] |
| Full Idea: It is not among the defining features of love that it must be hot rather than cool, ..and nor is it essential that a person like what he loves. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.4) | |
| A reaction: An interesting pair of observations. The greatness of love would probably be measured by length, or by sacrifice. Extreme heat makes us a little suspicious. It would be hard to love something that was actually disliked. |
| 9237 | The paradigm case of pure love is not romantic, but that between parents and infants [Frankfurt] |
| Full Idea: Relationships that are primarily romantic or sexual do not provide very authentic or illuminating paradigms of love. ...The love of parents for their small children comes closest to offering recognizably pure instances of love. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.4) | |
| A reaction: Excellent. Though perhaps a relationships which began romantically might settle into something like the more 'pure' love that he has in mind. Such a relationship must, I trust, be possible between adults. |
| 9239 | I value my children for their sake, but I also value my love for them for its own sake [Frankfurt] |
| Full Idea: Beside the fact that my children are important to me for their own sakes, there is the additional fact that loving my children is important to me for its own sake. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.7) | |
| A reaction: This is at the heart of Frankfurt's thesis, that love is the bedrock of our values in life, and we therefore all need to love in order to generate any values in our life, quite apart from what our love is directed at. Nice thought. |
| 9227 | We might not choose a very moral life, if the character or constitution was deficient [Frankfurt] |
| Full Idea: People who are scrupulously moral may nonetheless be destined by deficiencies of character or of constitution to lead lives that no reasonable person would freely choose. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.2) | |
| A reaction: This fairly firmly refutes any Greek dream that all there is to happiness is leading a virtuous life. Frankfurt is with Aristotle more than with the Stoics. It would be tempting to sacrifice virtue to get a sunny character and good health. |
| 9230 | People want to fulfill their desires, but also for their desires to be sustained [Frankfurt] |
| Full Idea: Besides wanting to fulfil his desire, the person who cares about what he desires wants something else as well: he wants the desire to be sustained. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.6) | |
| A reaction: Plato, in 'Gorgias', makes this fact sound like a nightmare, resembling drug addiction, but in Frankfurt's formulation it looks like a good thing. If you want to make your family happy because you love them, you would dread finding your love had died. |
| 9241 | Loving oneself is not a failing, but is essential to a successful life [Frankfurt] |
| Full Idea: Far from demonstrating a flaw in character or being a sign of weakness, coming to love oneself is the deepest and most essential - and by no means the most readily attainable - achievement of a serious and successful life. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.14) | |
| A reaction: Obviously it will be necessary to dilineate the healthy form of self-love, which Frankfurt attempts to do. Ruthless vanity and self-seeking certainly look like the worst possible weaknesses of character. With that proviso, he is right. |
| 9300 | Boredom is serious, not just uncomfortable; it threatens our psychic survival [Frankfurt] |
| Full Idea: Boredom is a serious matter. It is not a condition that we seek to avoid just because we do not find it enjoyable. ..It threatens the very continuation of conscious mental life. ..Avoiding bored is a primitive urge for psychic survival. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 2.8) | |
| A reaction: Presumably nihilism will flood into the emptiness created by boredom. Frankfurt will see it as a lack of love for anything in your life, and hence an absence of value. Frankfurt is very good. |
| 9231 | Freedom needs autonomy (rather than causal independence) - embracing our own desires and choices [Frankfurt] |
| Full Idea: What counts as far as freedom goes is not causal independence, but autonomy. It is a matter of whether we are active rather than passive in our motives and choices, whether those are what we really want, and not alien to us. | |
| From: Harry G. Frankfurt (The Reasons of Love [2005], 1.8) | |
| A reaction: This is why setting your own targets is excellent, but having targets set for you by authorities is pernicious. These kind of principles need to be clear before any plausible theory of liberalism can be developed. |
| 13304 | Learned men gain more in one day than others do in a lifetime [Posidonius] |
| Full Idea: In a single day there lies open to men of learning more than there ever does to the unenlightened in the longest of lifetimes. | |
| From: Posidonius (fragments/reports [c.95 BCE]), quoted by Seneca the Younger - Letters from a Stoic 078 | |
| A reaction: These remarks endorsing the infinite superiority of the educated to the uneducated seem to have been popular in late antiquity. It tends to be the religions which discourage great learning, especially in their emphasis on a single book. |
| 20820 | Time is an interval of motion, or the measure of speed [Posidonius, by Stobaeus] |
| Full Idea: Posidonius defined time thus: it is an interval of motion, or the measure of speed and slowness. | |
| From: report of Posidonius (fragments/reports [c.95 BCE]) by John Stobaeus - Anthology 1.08.42 | |
| A reaction: Hm. Can we define motion or speed without alluding to time? Looks like we have to define them as a conjoined pair, which means we cannot fully understand either of them. |
| 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? |