14 ideas
| 10735 | Abstraction from objects won't reveal an operation's being performed 'so many times' [Geach] |
| Full Idea: For an understanding of arithmetic the grasp of an operation's being performed 'so many times' is quite indispensable; and abstraction of a feature from groups of nuts cannot give us this grasp. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.170) | |
| A reaction: I end up defending the empirical approach to arithmetic because remarks like this are so patently false. Geach seems to think we arrive ready-made in the world, just raring to get on with some counting. He lacks the evolutionary perspective. |
| 10732 | If concepts are just recognitional, then general judgements would be impossible [Geach] |
| Full Idea: If concepts were nothing but recognitional capacities, then it is unintelligible that I can judge that cats eat mice when neither of them are present. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.164) | |
| A reaction: Having observed the importance of recognition for the abstractionist (Idea 10731), he then seems to assume that there is nothing more to their concepts. Geach fails to grasp levels of abstraction, and cross-reference, and generalisation. |
| 10731 | For abstractionists, concepts are capacities to recognise recurrent features of the world [Geach] |
| Full Idea: For abstractionists, concepts are essentially capacities for recognizing recurrent features of the world. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.163) | |
| A reaction: Recognition certainly strikes me as central to thought (and revelatory of memory, since we continually recognise what we cannot actually recall). Geach dislikes this view, but I see it as crucial to an evolutionary view of thought. |
| 10733 | The abstractionist cannot explain 'some' and 'not' [Geach] |
| Full Idea: The abstractionist cannot give a logically coherent account of the features that are supposed to be reached by discriminative attention, corresponding to the words 'some' and 'not'. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.167) | |
| A reaction: I understand 'some' in terms of mereology, because that connects to experience, and 'not' I take to derive more from psychological experience than from the physical world, building on thwarted expectation, which even animals experience. |
| 10734 | Only a judgement can distinguish 'striking' from 'being struck' [Geach] |
| Full Idea: To understand the verb 'to strike' we must see that 'striking' and 'being struck' are different, but necessarily go together in event and thought; only in the context of a judgment can they be distinguished, when we think of both together. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.168) | |
| A reaction: Geach seems to have a strange notion that judgements are pure events which can precede all experience, and are the only ways we can come to understand experience. He needs to start from animals (or 'brutes', as he still calls them!). |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 16713 | Philosophers are the forefathers of heretics [Tertullian] |
| Full Idea: Philosophers are the forefathers of heretics. | |
| From: Tertullian (works [c.200]), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 20.2 |
| 6610 | I believe because it is absurd [Tertullian] |
| Full Idea: I believe because it is absurd ('Credo quia absurdum est'). | |
| From: Tertullian (works [c.200]), quoted by Robert Fogelin - Walking the Tightrope of Reason n4.2 | |
| A reaction: This seems to be a rather desperate remark, in response to what must have been rather good hostile arguments. No one would abandon the support of reason if it was easy to acquire. You can't deny its engaging romantic defiance, though. |