6402
|
In 1927, Russell analysed force and matter in terms of events [Russell, by Grayling]
|
|
Full Idea:
In his 'Analysis of Matter' (1927), Russell sought to analyse the chief concepts of physics, such as force and matter, in terms of events.
|
|
From:
report of Bertrand Russell (The Analysis of Matter [1927]) by A.C. Grayling - Russell Ch.2
|
|
A reaction:
My immediate reaction is that this is not very promising, simply because we can always ask why a particular event occurred, and this seems to point to a deeper level in the analysis. See Idea 4779, for example.
|
14733
|
An object produces the same percepts with or without a substance, so that is irrelevant to science [Russell]
|
|
Full Idea:
There may be a substance at the centre of an object, but is no reason to think so, since the group of events making up the object will produce exactly the same percepts; so the substance, if there is one, is an abstract possibility irrelevant to science.
|
|
From:
Bertrand Russell (The Analysis of Matter [1927], 23)
|
|
A reaction:
All empiricists (as Russell is in this passage) seem to neglect inference to the best explanation. Things can be indirectly testable, and I would say that there are genuine general entities which are too close to abstraction to ever be testable.
|
3654
|
The pineal gland links soul to body, and unites the two symmetrical sides of the body [Descartes, by PG]
|
|
Full Idea:
The soul is united with the body in just one place, a gland (the pineal) in the centre of the brain. It is placed so that its slightest movement will affect the passions, and it plays the essential role of uniting the two symmetrical sides of the body.
|
|
From:
report of René Descartes (The Passions of the Soul [1649], §31) by PG - Db (ideas)
|
|
A reaction:
See Idea 4862 for Spinoza's nice response to Descartes' proposal. If Descartes had followed brain research for the last four hundred years, at what point would he have wavered? If every single part of the brain seems to 'interact', dualism looks unlikely.
|
4313
|
Are there a few primary passions (say, joy, sadness and desire)? [Descartes, by Cottingham]
|
|
Full Idea:
Descartes says there are six primary passions (wonder, love, hatred, desire, joy and sadness); Spinoza says there are just three (joy, sadness and desire).
|
|
From:
report of René Descartes (The Passions of the Soul [1649]) by John Cottingham - The Rationalists p.172
|
|
A reaction:
A dubious project. However, it is now agreed that there are a few (six?) basic universal facial expressions, to which these passions may correspond.
|
23989
|
There are six primitive passions: wonder, love, hatred, desire, joy and sadness [Descartes, by Goldie]
|
|
Full Idea:
Descartes said there are six primitive passions, namely wonder, love, hatred, desire, joy and sadness. The others are either species of these, or composed of them.
|
|
From:
report of René Descartes (The Passions of the Soul [1649], 353) by Peter Goldie - The Emotions 4 'Evidence'
|
|
A reaction:
[not sure about ref] It's a nice touch to add 'wonder', which doesn't make it onto anyone else's list.
|
20420
|
The emotion expressed is non-conscious, but feels oppressive until expression relieves it [Collingwood]
|
|
Full Idea:
The emotion expressed is one of whose nature the person feeling it is no longer conscious. As unexpressed, he feels it in a helpless and oppressed way; as expressed, the oppression has vanished. His mind is somehow lightened and eased.
|
|
From:
R.G. Collingwood (The Principles of Art [1938], p.110), quoted by Gary Kemp - Croce and Collingwood 1
|
|
A reaction:
It sounds like the regular smoking of cigarettes. This is Collingwood answer the doubts I felt about Idea 20419. I would have thought the desire of Picasso was to create another painting, but not to express yet another new oppressive feeling.
|
20421
|
Art exists ideally, purely as experiences in the mind of the perceiver [Collingwood, by Kemp]
|
|
Full Idea:
For Collingwood (and Croce) the work of art is an ideal object; …they are things that exist only in the mind, that is, only when one perceives. …The physical work exists to make this experience available.
|
|
From:
report of R.G. Collingwood (The Principles of Art [1938]) by Gary Kemp - Croce and Collingwood 2
|
|
A reaction:
This means that the paintings in a gallery cease to be works of art when the gallery is shut, which sounds odd. I suppose 'work of art' is ambiguous, between the experience (right) and the facilitator of the experience (wrong).
|