32 ideas
| 16554 | Activities have place, rate, duration, entities, properties, modes, direction, polarity, energy and range [Machamer/Darden/Craver] |
| Full Idea: Activities can be identified spatiotemporally, and individuated by rate, duration, and types of entity and property that engage in them. They also have modes of operation, directionality, polarity, energy requirements and a range. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 3) | |
| A reaction: This is their attempt at making 'activity' one of the two central concepts of ontology, along with 'entity'. A helpful analysis. It just seems to be one way of slicing the cake. |
| 16556 | Penicillin causes nothing; the cause is what penicillin does [Machamer/Darden/Craver] |
| Full Idea: It is not the penicillin that causes the pneumonia to disappear, but what the penicillin does. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 3.1) | |
| A reaction: This is a very neat example for illustrating how we slip into 'entity' talk, when the reality we are addressing actually concerns processes. Without the 'what it does', penicillin can't participate in causation at all. |
| 16562 | We understand something by presenting its low-level entities and activities [Machamer/Darden/Craver] |
| Full Idea: The intelligibility of a phenomenon consists in the mechanisms being portrayed in terms of a field's bottom out entities and activities. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 7) | |
| A reaction: In other words, we understand complex things by reducing them to things we do understand. It would, though, be illuminating to see a nest of interconnected activities, even if we understood none of them. |
| 16563 | The explanation is not the regularity, but the activity sustaining it [Machamer/Darden/Craver] |
| Full Idea: It is not regularities that explain but the activities that sustain the regularities. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 7) | |
| A reaction: Good, but we had better not characterise the 'activities' in terms of regularities. |
| 16555 | Functions are not properties of objects, they are activities contributing to mechanisms [Machamer/Darden/Craver] |
| Full Idea: It is common to speak of functions as properties 'had by' entities, …but they should rather be understood in terms of the activities by virtue of which entities contribute to the workings of a mechanism. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 3) | |
| A reaction: I'm certainly quite passionately in favour of cutting down on describing the world almost entirely in terms of entities which have properties. An 'activity', though, is a bit of an elusive concept. |
| 16528 | Mechanisms are not just push-pull systems [Machamer/Darden/Craver] |
| Full Idea: One should not think of mechanisms as exclusively mechanical (push-pull) systems. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 1) | |
| A reaction: The difficulty seems to be that you could broaden the concept of 'mechanism' indefinitely, so that it covered history, mathematics, populations, cultural change, and even mathematics. Where to stop? |
| 16529 | Mechanisms are systems organised to produce regular change [Machamer/Darden/Craver] |
| Full Idea: Mechanisms are entities and activities organized such that they are productive of regular change from start or set-up to finish or termination conditions. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 1) | |
| A reaction: This is their initial formal definition of a mechanism. Note that a mere 'activity' can be included. Presumably the mechanism might have an outcome that was not the intended outcome. Does a random element disqualify it? Are hands mechanisms? |
| 16530 | A mechanism explains a phenomenon by showing how it was produced [Machamer/Darden/Craver] |
| Full Idea: To give a description of a mechanism for a phenomenon is to explain that phenomenon, i.e. to explain how it was produced. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 1) | |
| A reaction: To 'show how' something happens needs a bit of precisification. It is probably analytic that 'showing how' means 'revealing the mechanism', though 'mechanism' then becomes the tricky concept. |
| 16553 | Our account of mechanism combines both entities and activities [Machamer/Darden/Craver] |
| Full Idea: We emphasise the activities in mechanisms. This is explicitly dualist. Substantivalists speak of entities with dispositions to act. Process ontologists reify activities and try to reduce entities to processes. We try to capture both intuitions. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 3) | |
| A reaction: [A quotation of selected fragments] The problem here seems to be the raising of an 'activity' to a central role in ontology, when it doesn't seem to be primitive, and will typically be analysed in a variety of ways. |
| 16559 | Descriptions of explanatory mechanisms have a bottom level, where going further is irrelevant [Machamer/Darden/Craver] |
| Full Idea: Nested hierachical descriptions of mechanisms typically bottom out in lowest level mechanisms. …Bottoming out is relative …the explanation comes to an end, and description of lower-level mechanisms would be irrelevant. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 5.1) | |
| A reaction: This seems to me exactly the right story about mechanism, and it is a story I am associating with essentialism. The relevance is ties to understanding. The lower level is either fully understood, or totally baffling. |
| 16564 | There are four types of bottom-level activities which will explain phenomena [Machamer/Darden/Craver] |
| Full Idea: There are four bottom-out kinds of activities: geometrico-mechanical, electro-chemical, electro-magnetic and energetic. These are abstract means of production that can be fruitfully applied in particular cases to explain phenomena. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 7) | |
| A reaction: I like that. It gives a nice core for a metaphysics for physicalists. I suspect that 'mechanical' can be reduced to something else, and that 'energetic' will disappear in the final story. |
| 16561 | We can abstract by taking an exemplary case and ignoring the detail [Machamer/Darden/Craver] |
| Full Idea: Abstractions may be constructed by taking an exemplary case or instance and removing detail. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 5.3) | |
| A reaction: I love 'removing detail'. That's it. Simple. I think this process is the basis of our whole capacity to formulate abstract concepts. Forget Frege - he's just describing the results of the process. How do we decide what is 'detail'? Essentialism! |
| 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. |
| 1743 | The greatest deterrence for injustice is if uninjured parties feel as much indignation as those who are injured [Solon, by Diog. Laertius] |
| Full Idea: Men can be most effectively deterred from committing injustice if those who are not injured feel as much indignation as those who are. | |
| From: report of Solon (reports [c.600 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 01.So.10 |
| 16558 | Laws of nature have very little application in biology [Machamer/Darden/Craver] |
| Full Idea: The traditional notion of a law of nature has few, if any, applications in neurobiology or molecular biology. | |
| From: Machamer,P/Darden,L/Craver,C (Thinking About Mechanisms [2000], 3.2) | |
| A reaction: This is a simple and self-evident fact, and bad news for anyone who want to build their entire ontology around laws of nature. I take such a notion to be fairly empty, except as a convenient heuristic device. |
| 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? |