31 ideas
| 18005 | Philosophy aims to become more disciplined about categories [Ryle] |
| Full Idea: Philosophy is the replacement of category-habits by category-disciplines. | |
| From: Gilbert Ryle (The Concept of Mind [1949], Intro p.8), quoted by Ofra Magidor - Category Mistakes 1.2 | |
| A reaction: I rather like this. It fits the view the idea that metaphysics aims to give the structure of reality. If there are not reasonably uniform categories for things, then reality is indescribable. Improving our categories seems a thoroughly laudable aim. |
| 6294 | In the beginning was the Word, and the Word was with God, and the word was God [John] |
| Full Idea: In the beginning was the Word, and the Word was with God, and the word was God. | |
| From: St John (04: Gospel of St John [c.95], 01.01) | |
| A reaction: 'Word' translates the Greek word 'logos', which has come a long way since Heraclitus. The interesting contrast is with the later Platonist view that the essence of God is the Good. So is the source of everything to be found in reason, or in value? |
| 8821 | Jesus said he bore witness to the truth. Pilate asked, What is truth? [John] |
| Full Idea: Jesus: I came into the world, that I should bear witness unto the truth. Everyone that is of the truth heareth my voice. Pilate saith unto him, What is truth? | |
| From: St John (04: Gospel of St John [c.95], 18:37-8) | |
| A reaction: There is very little explicit discussion of truth in philosophy before this exchange (apart from Ideas 251 and 586), and there isn't any real debate prior to Russell and the pragmatists. What was Pilate's tone? Did he spit at the end of his question? |
| 14297 | A dispositional property is not a state, but a liability to be in some state, given a condition [Ryle] |
| Full Idea: To possess a dispositional property is not to be in a particular state;..it is to be bound or liable to be in a particular state, or undergo a particular change, when a particular condition is realized. | |
| From: Gilbert Ryle (The Concept of Mind [1949], II (7)) | |
| A reaction: Whether this view is correct is the central question about dispositions. Ryle's view is tied in with Humean regularities and behaviourism about mind. The powers view, which I favour, says a disposition is a drawn bow, an actual state of power. |
| 14300 | No physical scientist now believes in an occult force-exerting agency [Ryle] |
| Full Idea: The old error treating the term 'Force' as denoting an occult force-exerting agency has been given up in the physical sciences. | |
| From: Gilbert Ryle (The Concept of Mind [1949], V (1)) | |
| A reaction: Since 1949 they seem to have made a revival, once they are divested of their religious connotations. The word 'agency' is the misleading bit. Even Leibniz's monads weren't actual agents - he always said that was 'an analogy'. |
| 2622 | Can one movement have a mental and physical cause? [Ryle] |
| Full Idea: The dogma of the Ghost in the Machine maintains that there exist both minds and bodies; that there are mechanical causes of corporeal movements, and mental causes of corporeal movements. | |
| From: Gilbert Ryle (The Concept of Mind [1949], I (3)) | |
| A reaction: This nicely identifies the problem of double causation, which can be found in Spinoza (Idea 4862). The dualists have certainly got a problem here, but they can deny a conflict. The initiation of a hand movement is not mechanical at all. |
| 1353 | Reporting on myself has the same problems as reporting on you [Ryle] |
| Full Idea: My reports on myself are subject to the same kinds of defects as are my reports on you. | |
| From: Gilbert Ryle (The Concept of Mind [1949], Ch.6) | |
| A reaction: This may be true of memories or of motives, but it hardly seems to apply to being in pain, where you might be totally lying, where the worst I could do to myself is exaggerate. "You're fine; how am I?" |
| 1354 | We cannot introspect states of anger or panic [Ryle] |
| Full Idea: No one could introspectively scrutinize the state of panic or fury. | |
| From: Gilbert Ryle (The Concept of Mind [1949], Ch.6) | |
| A reaction: It depends what you mean by 'scrutinize'. No human being ever loses their temper or panics without a background thought of "Oh dear, I'm losing it - it would probably be better if I didn't" (or, as Aristotle might say, "I'm angry, and so I should be"). |
| 2624 | I cannot prepare myself for the next thought I am going to think [Ryle] |
| Full Idea: One thing that I cannot prepare myself for is the next thought that I am going to think. | |
| From: Gilbert Ryle (The Concept of Mind [1949], VI (7)) |
| 2620 | Dualism is a category mistake [Ryle] |
| Full Idea: The official theory of mind (as private, non-spatial, outside physical laws) I call 'the dogma of the Ghost in the Machine'. I hope to prove it entirely false, and show that it is one big mistake, namely a 'category mistake'. | |
| From: Gilbert Ryle (The Concept of Mind [1949], I (2)) | |
| A reaction: This is the essence of Ryle's eliminitavist behaviourism. Personally I agree that the idea of a separate 'ghost' running the machine is utterly implausible, but it isn't a 'category mistake'. The mind clearly exists, but the confusion is about what it is. |
| 2388 | Behaviour depends on desires as well as beliefs [Chalmers on Ryle] |
| Full Idea: Another problem for Ryle (from Chisholm and Geach) is that no mental state could be defined by a single range of behavioural dispositions, independent of any other mental states. (Behaviour depends upon desires as well as beliefs). | |
| From: comment on Gilbert Ryle (The Concept of Mind [1949]) by David J.Chalmers - The Conscious Mind 1.1.2 | |
| A reaction: The defence of behaviourism is to concede this point, but suggest that behavioural dispositions come in large groups of interdependent sets, some relating to beliefs, others relating to desires, and each group leads to a behaviour. |
| 3354 | You can't explain mind as dispositions, if they aren't real [Benardete,JA on Ryle] |
| Full Idea: Ryle is tough-minded to the point of incoherence when he combines a dispositional account of the mind with an anti-realist account of dispositions. | |
| From: comment on Gilbert Ryle (The Concept of Mind [1949]) by José A. Benardete - Metaphysics: the logical approach Ch.22 | |
| A reaction: A nice point, but it strikes me that Ryle was, by temperament at least, an eliminativist about the mind, so the objection would not bother him. Maybe a disposition and a property are the same thing? |
| 2387 | How can behaviour be the cause of behaviour? [Chalmers on Ryle] |
| Full Idea: A problem for Ryle is that mental states may cause behaviour, but if mental states are themselves behavioural or behavioural dispositions, as opposed to internal states, then it is hard to see how they could do the job. | |
| From: comment on Gilbert Ryle (The Concept of Mind [1949]) by David J.Chalmers - The Conscious Mind 1.1.2 | |
| A reaction: I strongly approve of this, as an objection to any form of behaviourism or functionalism. If you identify something by its related behaviour, or its apparent function, this leaves the question 'WHY does it behave or function in this way?' |
| 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. |
| 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? |