Philosophers From England

"Who shall count up the evil brood that is born from power - the pitiful fear, the madness, the despair, the overpowering craving for revenge, the treachery, the unmeasured cruelty?"

"If we cannot by reason, by influence, by example, by strenuous effort, and by personal sacrifice, mend the bad places of civilization, we certainly cannot do it by force. Force is the very weakest and most treacherous of all human implements. The history of force is the history of the continuous crumbling away of every institution that has rested upon it. — The Contemporary Review, The Ethics of Dynamite (1894)"

"We seem to be in the place of God to them, to be his vice-regents, and empowered to receive homage from them in his name. And we are obliged, by the same tenure, to be their guardians and benefactors."

"How far our position is a minority one will differ from person to person here. If we are against factory farms, we are morally condemning widespread and perfectly legal practices involving perhaps the majority of the human community. If we are vegetarians, we hold a position which is very much a minority one. If we are pretty radical anti-vivisectionists, we also hold what seems to be a minority position, involving as it does a radical criticism of the law and the establishment of this country."

"What exactly is the minority moral position for which members of a gathering such as this are likely to be propagandists? It will certainly differ slightly from person to person. There is, however, one rather minimal principle to which I trust that all here would assent, namely that the suffering or frustration of an animal of another species is an evil of the same general sort as is the suffering or frustration of a human being, and that we humans have the same general sort of moral obligation to refrain from causing, and to try actively to prevent, such evil when it concerns animals as when it concerns human beings."

"One cannot really believe that an emotion exists outside one's own consciousness without participating in that emotion and making it to some extent one's own. … Similarly, I can't in any serious sense believe that something I am doing is hurting you without my image of that hurt acting on me as the hurt itself would do if I myself experienced it, encouraging me to desist."

"If the view outlined here is correct, namely that people cannot really grasp the nature of the suffering which their behaviour creates without wishing to refrain from it, you may ask how do experimenters, factory farmers, cattle transporters, etc., carry on? The answer is, in one way or another, I believe, that they do not really grasp what they are doing. At some level it may be right to say “Forgive them, for they know not what they do”. But the immediate task is to make people realise sufficiently what they, or others on their behalf, are doing, so that it will be done no more."

"The restraints we are seeking to impose are ones which can only be opposed by a failure in empathy towards non-human animals which constitutes an irrational blindness to the fact of the basic sameness of suffering in whatever species of animal it occurs; an irrationality incompatible with clear thought about the issue."

"The artist must prophesy," writes Collingwood, "not in the sense that he foretells things to come, but in the sense that he tells his audience, at risk of their displeasure, the secrets of their own hearts."

"a) The definition of history? Every historian would agree, I think, that history is a kind of research or inquiry. What kind of inquiry it is I do not yet ask. The point is that generically it belongs to what we call the sciences: that is, the forms of thought whereby we ask questions and try to answer them. Science in general, it is important to realize, does not consist in collecting what we already know and arranging it in this or that kind of pattern. It consists in fastening upon something we do not know, and trying to discover it. Playing patience with things we already know may be a useful means towards this end, but it is not the end itself. It is at best only the means. It is scientifically valuable only in so far as the new arrangement gives us the answer to a question we have already decided to ask. That is why all science begins from the knowledge of our own ignorance: not our ignorance of everything, but our ignorance of some definite thing-the origin of parliament, the cause of cancer, the chemical composition of the sun, the way to make a pump work without muscular exertion on the part of a man or a horse or some other docile animal. Science is finding things out: and in that sense history is a science."

"I have already said that a thing which 'exists in a person's head' and nowhere else is alternatively called an imaginary thing. The actual making of the tune is therefore alternatively called the making of an imaginary tune. This is a case of creation, just as much as the making of a plan or a disturbance, and for the same reasons, which it would be tedious to repeat. Hence the making of a tune is an instance of imaginative creation. The same applies to the making of a poem, or a picture, or any other work of art."

"We can now return to the distinction between language and symbolism. A symbol is language and yet not language. A mathematical or logical or any other kind of symbol is invented to serve a purpose purely scientific; it is supposed to have no emotional expressiveness whatever. But when once a particular symbolism has been taken into use and mastered, it reacquires the emotional expressiveness of language proper. Every mathematician knows this. At the same time, the emotions which mathematicians find expressed in their symbols are not emotions in general, they are the peculiar emotions belonging to mathematical thinking."

"Language in its original imaginative form maybe said to have expressiveness, but no meaning. About such language we cannot distinguish between what the speaker says and what he means... Language in its intellectualized form has both expressiveness and meaning. As language, it expressed a certain emotion. As symbolism, it refers beyond that emotion to the thought whose emotional charge it is... The progressive intellectualization of language, its progressive conversion by the work of grammar and logic into a scientific symbolism, thus represents not a progressive drying-up of emotion, but its progressive articulation and specialization. We are not getting away from an emotional atmosphere into a dry, rational atmosphere; we are acquiring new emotions and new means of expressing them."

"The real is the present, conceived not as a mathematical point between the present and the past, but as the union of present and past in a duration or permanence that is at the same time change. Thus the past as past and the future as future do not exist at all, but are purely ideal; the past as living in the present and the future as germinating in the present are wholly real and indeed are just the present itself. It is because of the presence of these two elements in the present... that the present is a concrete and changing reality and not an empty mathematical point."

"The ideal and the real are not mutually exclusive. A thing may be ideal and also real."

"Time, as succession of past, present and future, really has its being totum simul for the thought of a spectator, and this justifies its ‘spatialized’ presentation as a line of which we can see the whole at once."

"In actual history, events overlap ; you cannot, except by a confessed fiction, state the point at which the event called the Middle Ages ends and the event called the Modern Period begins."

"The word art has in ordinary usage three senses. First, it means the creation of objects or the pursuit of activities called works of art, by people called artists ; these works being distinguished from other objects and acts not merely as human products, but as products intended to be beautiful. Secondly, it means the creation of objects or the pursuit of activities called artificial as opposed to natural; that is to say objects created or activities pursued by human beings consciously free to control their natural impulses and to organize their life in a plan. Thirdly, it means that frame of mind which we call artistic, the frame of mind in which we are aware of beauty."

"For I do not think of aesthetic theory as an attempt to investigate and expound eternal verities concerning the nature of an eternal object called Art, but as an attempt to reach, by thinking, the solution of certain problems arising out of the situation in which artists find themselves here and now. Everything written in this book has been written in the belief that is has a practical bearing, direct or indirect, upon the condition of art in England in 1937, and in the hope that artists primarily, and secondarily persons whose interest in art is lively and sympathetic, will find something of use to them."

"The essence of this conception is .. the idea of a community as governing itself by fostering the free expression of all political opinions that take shape within it, and finding some means of reducing this multiplicity of opinions to a unity."

"The chief business of seventeenth-century philosophy was to reckon with seventeenth-century science... the chief business of twentieth-century philosophy is to reckon with twentieth-century history."

"All history is art, because to tell a story is art, whereas to tell a true story is history: thus history is art, but a specification of art, art qualified by a condition (truth) which deprives it of a part of its character but not of all."

"Perfect freedom is reserved for the man who lives by his own work and in that work does what he wants to do."

"Lastly, what is history for? This is perhaps a harder question than the others; a man who answers it will have to reflect rather more widely than a man who answers the three we have answered already. He must reflect not only on historical thinking but on other things as well, because to say that something is 'for' something implies a distinction between A and B, where A is good for something and B is that for which something is good. But I will suggest an answer, and express the opinion that no historian would reject it, although the further questions to which it gives rise are numerous and difficult."

"If it is asked why Socrates permits certain forms of art to be retained in the ideal state instead of consistently banishing all alike, the answer is surely obvious: these are, in the opinion of Socrates, the forms which art will take in the hands of men who understand its true nature."

"It (the dream) is essentially a structure which is, in the terminology of the psycho-analyst, unconscious. The dreamer himself is unaware of it until, in collaboration with his psycho-analyst, he brings it to light. The mythological way of stating this fact is to say that the structure was "in the unconscious." This is frankly non-sense . . . because the structure is not in the unconscious but precisely in the dream, for it is the structure of the dream; and the dream is con? scious enough . . . the revelation made by psycho-analysis is not the bringing into consciousness of what was unconscious, but the bring? ing into explicitness of what was implicit, the noticing of something already actually experienced in a light in which it had not been noticed before . . . the new light in question is nothing but the hitherto overlooked structure of the experience in question ...."

"One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality."

"The general conception here maintained is not new; it is one already familiar from the works of Coleridge, Croce and many others; it is the view that art is at bottom neither more nor less than imagination."

"Within a few years of his death it was clear that his work had established the study of jurisprudence in England."

"Every positive law, or every law simply and strictly so called, is set, directly or circuitously, by a sovereign person or body, to a member or members of the independent political society wherein that person or body is supreme."

"A command is distinguished from other significations of desire, not by the style in which the desire is signified, but by the power or purpose of the party to inflict an evil or pain in case the desire is disregarded."

"To the ignorant and bawling fanatics who stun you with their pother about liberty, political or civil liberty seems to be the principal end for which government ought to exist. But the final cause or purpose for which government ought to exist, is the furtherance of the common weal to the greatest possible extent."

"The matter of jurisprudence is positive law: law, simply and strictly so called : or law set by political superiors to political inferiors."

"Since the term command comprises the term law the first is the simpler as well as the larger of the two. But simple as it is, it admits of explanation. And, since it is the key to the sciences of jurisprudence and morals, its meaning should be analyzed with. precision."

"The existence of a law is one thing, its merits or demerits is are another thing. Whether a law be, is one inquiry; whether it ought to be o whether it agree with a given or assumed test, is another and a distinct inquiry."

"[[Information theory|[I]nformation]] pervades biology. Your DNA is chock full of encrypted information, and the encryption is really important. But s don't act in isolation. They couple together to form networks, sometimes of great complexity, and information swirls around these networks. It can be stored.... processed... and it can have knock-on effects... beyond individual cells. Even bacteria can signal each other chemically... electrically and mechanically, and so, through physical forces, can exchange information and engage in cooperative behavior, like in s."

"[A]nts... have... collective decision-making... a labyrinth of [network] information exchange... which can profoundly affect the outcome of the colony. We see it... in bird flocking."

"We lack any sort of device that can... detect life. We don't have a life meter. ...We don't have a general purpose life meter that can detect life as we don't know it."

"The fundamental problem about trying to define life... If you go to a physics department... you'll be given a definition in terms of matter... force... energy... entropy... free energy, molecular binding affinities, and so on. If you go to a biology department... you'll be given a very different narrative in terms of... instructions, transcription, , translation, coding, signals..."

"[[Max Delbrück|[M]ax Delbrück]]... expressed it... (to encapsulate)... [A]t the level of atoms it's just known physics, but at the level of the living cell it's some sort of magic."

"In each and every one of us lies a message. It is inscribed in an ancient code, its beginnings lost in the mists of time. Decrypted, the message contains instructions on how to make a human being. Nobody wrote the message; nobody invented the code. They came into existence spontaneously. Their designer was Mother Nature herself, working only within the scope of her immutable laws and capitalizing on the vagaries of chance.The message isn't written in ink or type, but in atoms, strung together in an elaborately arranged sequence to form DNA, short for deoxyribonucleic acid. It is the most extraordinary molecule on Earth."

"I cannot believe that our existence in this universe is a mere quirk of fate, an accident of history, an incidental blip in the great cosmic drama. Our involvement is too intimate."

"The laws of nature are rigged not only in favor of complexity, or just in favor of life, but also in favor of mind. To put it dramatically, it implies that mind is written into the laws of nature in a fundamental way."

"What is remarkable is that human beings are actually able to carry out this code-breaking operation, that the human mind has the necessary intellectual equipment for us to "unlock the secrets of nature"..."

"The scientific quest is a journey into the unknown."

"Human beings have always been struck by the complex harmony and intricate organization of the physical world. The march of the heavenly bodies across the sky, the rhythms of the seasons, the pattern of a snowflake, the myriads of living creatures so well adapted to their environment – all these things seem too well arranged to be a mindless accident."

"To a physicist like me, life looks to be little short of magic: all those dumb molecules conspiring to achieve such clever things!"

"Seventy-five years ago Erwin Schrödinger published... '... the key point... was whether life can be explained by physics. ...Schrödinger ...said "We must be prepared to find a new kind of physical law prevailing...""

"The thing that separates life from non-life is information."

"Perhaps the most exquisite example of information in biology... During embryogenesis there's the most meticulous choreography of organized information, so all the right bits end up in the right place, at the right time. ...[T]he power of information to sculpt [living] physical forms."