19 ideas
| 18776 | Contextual definitions eliminate descriptions from contexts [Linsky,B] |
| Full Idea: A 'contextual' definition shows how to eliminate a description from a context. | |
| From: Bernard Linsky (Quantification and Descriptions [2014], 2) | |
| A reaction: I'm trying to think of an example, but what I come up with are better described as 'paraphrases' than as 'definitions'. |
| 18774 | Definite descriptions, unlike proper names, have a logical structure [Linsky,B] |
| Full Idea: Definite descriptions seem to have a logical structure in a way that proper names do not. | |
| From: Bernard Linsky (Quantification and Descriptions [2014], 1.1.1) | |
| A reaction: Thus descriptions have implications which plain names do not. |
| 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. |
| 3444 | If actions are not caused by other events, and are not causeless, they must be caused by the person [Chisholm] |
| Full Idea: If the action is not caused by some other event, and it is not causeless, this leaves the possibility that it is caused by something else instead, and this something can only be the agent, the man. | |
| From: Roderick Chisholm (Human Freedom and the Self [1964], p.28) |
| 3446 | For Hobbes (but not for Kant) a person's actions can be deduced from their desires and beliefs [Chisholm] |
| Full Idea: According to Hobbes, if we fully know what a man desires and believes, and we know the state of his physical stimuli, we may logically deduce what he will try to do. But Kant says no such statements can ever imply what a man will do. | |
| From: Roderick Chisholm (Human Freedom and the Self [1964], p.32) |
| 9268 | If free will miraculously interrupts causation, animals might do that; why would we want to do it? [Frankfurt on Chisholm] |
| Full Idea: Chisholm holds the quaint doctrine that human freedom entails an absence of causal determination; a free action is a miracle. This gives no basis for doubting that animals have such freedom; and why would we care whether we can interrupt the causal order? | |
| From: comment on Roderick Chisholm (Human Freedom and the Self [1964]) by Harry G. Frankfurt - Freedom of the Will and concept of a person §IV | |
| A reaction: [compressed] Chisholm is the spokesman for 'agent causation', Frankfurt for freedom as second-level volitions. I'm with Frankfurt. The belief in 'agents' and 'free will' may sound plausible, until the proposal is spelled out in causal terms. |
| 3442 | Responsibility seems to conflict with events being either caused or not caused [Chisholm] |
| Full Idea: The free will problem is that humans seem to be responsible, but this seems to conflict with the idea that every event is caused by some other event, and it also conflicts with the view that the action is not caused at all. | |
| From: Roderick Chisholm (Human Freedom and the Self [1964], p.24) |
| 3443 | Desires may rule us, but are we responsible for our desires? [Chisholm] |
| Full Idea: If a flood of desires causes a weak-willed man to give in to temptation, …the question now becomes, is he responsible for the beliefs and desires he happens to have? | |
| From: Roderick Chisholm (Human Freedom and the Self [1964], p.25) |
| 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. |
| 3445 | Causation among objects relates either events or states [Chisholm] |
| Full Idea: Between natural objects we may say that causation is a relation between events or states of affairs. | |
| From: Roderick Chisholm (Human Freedom and the Self [1964], p.28) |