41 ideas
| 3600 | Slow and accurate thought makes the greatest progress [Descartes] |
| Full Idea: Those who go forward only very slowly can progress much further if they always keep to the right path, than those who run and wander off it. | |
| From: René Descartes (A Discourse on Method [1637], §1.2) | |
| A reaction: Like Descartes' 'Method'. This seems to place a low value on 'nous' or intuition. |
| 3601 | Most things in human life seem vain and useless [Descartes] |
| Full Idea: Looking at the various activities and enterprises of mankind with the eye of a philosopher, there is hardly one which does not seem to me vain and useless. | |
| From: René Descartes (A Discourse on Method [1637], §1.3) | |
| A reaction: Well, yes. The obvious retort is that everything is vain and useless; or if not, then certainly metaphysics is. Useful for what? Is ornamental gardening useless, or sport? Art? What is the use of cosmology? He's right, of course. |
| 3602 | Almost every daft idea has been expressed by some philosopher [Descartes] |
| Full Idea: There is nothing one can imagine so strange or so unbelievable that has not been said by one or other of the philosophers. | |
| From: René Descartes (A Discourse on Method [1637], §2.16) | |
| A reaction: Actually I think that extensive areas of logical possibilities for existence remain totally unexplored. On the other hand, most of the metaphysical beliefs of most of the human race, including the majority of philosophers, strike me as being false. |
| 22234 | Post-structuralism focused on exterior determinants of thought, rather than the thinker [Oksala] |
| Full Idea: Post-structuralism was characterised by the denial of the human being as the privileged object of philosophical analysis, focusing instead on the social, linguistic and unconscious determinants of thought. | |
| From: Johanna Oksala (How to Read Foucault [2007], Intro) | |
| A reaction: I'm new to this, and so far this sounds the same as structralism, so I'll have to keep going. I presume it is the same as the rejection of the author when interpreting literature (as in Barthes?). Structuralism was 'non-historical'. |
| 3603 | Methodical thinking is cautious, analytical, systematic, and panoramic [Descartes, by PG] |
| Full Idea: Descartes' four principles for his method of thinking are: be cautious, analyse the problem, be systematic from simple to complex, and keep an overview of the problem | |
| From: report of René Descartes (A Discourse on Method [1637], §2.18) by PG - Db (ideas) |
| 3612 | Clear and distinct conceptions are true because a perfect God exists [Descartes] |
| Full Idea: That the things we grasp very clearly and very distinctly are all true, is assured only because God is or exists, and because he is a perfect Being. | |
| From: René Descartes (A Discourse on Method [1637], §4.38) |
| 3610 | Truth is clear and distinct conception - of which it is hard to be sure [Descartes] |
| Full Idea: I take it as a general rule that the things we conceive very clearly and very distinctly are all true, but that there is merely some difficulty in properly discerning which are those which we distinctly conceive. | |
| From: René Descartes (A Discourse on Method [1637], §4.33) |
| 3605 | We can believe a thing without knowing we believe it [Descartes] |
| Full Idea: The action of thought by which one believes a thing, being different from that by which one knows that one believes it, they often exist the one without the other. | |
| From: René Descartes (A Discourse on Method [1637], §3.23) |
| 1583 | In morals Descartes accepts the conventional, but rejects it in epistemology [Roochnik on Descartes] |
| Full Idea: Descartes' procedure for treating values (accepting normal conventions when faced with uncertainty) is the exact antithesis of that used to attain knowledge. | |
| From: comment on René Descartes (A Discourse on Method [1637], §3.23) by David Roochnik - The Tragedy of Reason p.73 |
| 3607 | In thinking everything else false, my own existence remains totally certain [Descartes] |
| Full Idea: While I decided to think that everything was false, it followed necessarily that I who thought thus must be something; the truth 'I think therefore I am' was so certain that the most extravagant scepticism could never shake it. | |
| From: René Descartes (A Discourse on Method [1637], §4.32) |
| 3617 | I aim to find the principles and causes of everything, using the seeds within my mind [Descartes] |
| Full Idea: I have tried to find in general the principles or first causes of everything which is or which may be in the world, ..without taking them from any other source than from certain seeds of truth which are naturally in our minds. | |
| From: René Descartes (A Discourse on Method [1637], §6.64) |
| 3611 | Understanding, rather than imagination or senses, gives knowledge [Descartes] |
| Full Idea: Neither our imagination nor our senses could ever assure us of anything, if our understanding did not intervene. | |
| From: René Descartes (A Discourse on Method [1637], §4.37) |
| 3606 | I was searching for reliable rock under the shifting sand [Descartes] |
| Full Idea: My whole plan had for its aim simply to give me assurance, and the rejection of shifting ground and sand in order to find rock or clay. | |
| From: René Descartes (A Discourse on Method [1637], §3.29) | |
| A reaction: I take this to be characteristic of an age when religion is being quietly rocked by the revival of ancient scepticism. If he'd settled for fallibilism, our civilization would have gone differently. |
| 3604 | When rebuilding a house, one needs alternative lodgings [Descartes] |
| Full Idea: Before beginning to rebuild the house in which one lives…. one must also provide oneself with some other accommodation in which to be lodge conveniently while the work is going on. | |
| From: René Descartes (A Discourse on Method [1637], §3.22) |
| 3618 | Only experiments can settle disagreements between rival explanations [Descartes] |
| Full Idea: I observe almost no individual effect without immediately knowing that it can be deduced in many different ways, ..and I know of no way to resolve this but by experiments such that the results are different according to different explanations. | |
| From: René Descartes (A Discourse on Method [1637], §6.65) |
| 3615 | Little reason is needed to speak, so animals have no reason at all [Descartes] |
| Full Idea: Animals not only have less reason than men, but they have none at all; for we see that very little of it is required in order to be able to speak. | |
| From: René Descartes (A Discourse on Method [1637], §5.58) |
| 3609 | I am a thinking substance, which doesn't need a place or material support [Descartes] |
| Full Idea: I concluded that I was a substance, of which the whole essence or nature consists in thinking, and which, in order to exist, needs no place and depends on no material thing. | |
| From: René Descartes (A Discourse on Method [1637], §4.33) | |
| A reaction: To me that sounds like "I concluded that I wasn't a human being", which highlights the bizarre wishful thinking that seems to have gripped the human race for the first few thousand years of its serious thinking. |
| 3608 | I can deny my body and the world, but not my own existence [Descartes] |
| Full Idea: I could pretend that I had no body, and that there was no world or place that I was in, but I could not, for all that, pretend that I did not exist. | |
| From: René Descartes (A Discourse on Method [1637], §4.32) | |
| A reaction: He makes the (in my opinion) appalling blunder of thinking that because he can pretend that he has no body, that therefore he might not have one. I can pretend that gold is an unusual form of cheese. However, "I don't exist" certainly sounds wrong. |
| 3613 | Reason is universal in its responses, but a physical machine is constrained by its organs [Descartes] |
| Full Idea: Whereas reason is a universal instrument which can serve on any kind of occasion, the organs of a machine need a disposition for each action; so it is impossible to have enough different organs in a machine to respond to all the occurrences of life. | |
| From: René Descartes (A Discourse on Method [1637], §5.57) | |
| A reaction: How can Descartes know that reason is 'universal' rather than just 'very extensive'? Is there any information which cannot be encoded in a computer? It doesn't feel as if there any intrinsic restrictions to reason, but note Idea 4688. |
| 3616 | The soul must unite with the body to have appetites and sensations [Descartes] |
| Full Idea: It is not sufficient that the reasonable soul should be lodged in the body like a pilot in a ship, unless perhaps to move its limbs, but it needs to be united more closely with the body in order to have sensations and appetites, and so be a true man. | |
| From: René Descartes (A Discourse on Method [1637], §5.59) | |
| A reaction: The idea that the pineal gland is the link suggests that Descartes has the 'pilot' view, but this idea shows that he believes in very close and complex interaction between mind and body. But how can a mind 'have' appetites if it has no physical needs? |
| 3614 | A machine could speak in response to physical stimulus, but not hold a conversation [Descartes] |
| Full Idea: One may conceive of a machine made so as to emit words, and even emit them in response to a change in its bodily organs, such as being touched, but not to reply to the sense of everything said in its presence, as the most unintelligent men can. | |
| From: René Descartes (A Discourse on Method [1637], §5.56) | |
| A reaction: A critique of the Turing Test, written in 1637! You have to admire. Because of the advent of the microprocessor, we can 'conceive' more sophisticated, multi-level machines than Descartes could come up with. |
| 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. |
| 1581 | Greeks elevate virtues enormously, but never explain them [Descartes] |
| Full Idea: The ancient pagans place virtues on a high plateau and make them appear the most valuable thing in the world, but they do not sufficiently instruct us about how to know them. | |
| From: René Descartes (A Discourse on Method [1637], §1.8) |
| 16686 | God has established laws throughout nature, and implanted ideas of them within us [Descartes] |
| Full Idea: I have noticed certain laws that God has so established in nature, and of which he has implanted such notions in our souls, that …we cannot doubt that they are exactly observed in everything that exists or occurs in the world. | |
| From: René Descartes (A Discourse on Method [1637], pt 5), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 15.5 | |
| A reaction: This is the view of laws which still seems to be with us (and needs extirpating) - that some outside agency imposes them on nature. I suspect that even Richard Feynman thought of laws like that, because he despised philosophy, and was thus naïve. |
| 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? |