Showing posts with label common sense. Show all posts
Showing posts with label common sense. Show all posts

12 Sept 2018

Dupréel (1.7) La consistance et la probabilité constructive, sect 1.7, ‘Hiérarchie des notions’, summary

 

by Corry Shores

 

[Search Blog Here. Index tabs are found at the bottom of the left column.]

 

[Central Entry Directory]

[Eugène Dupréel, entry directory]

[Dupréel, La consistance et la probabilité constructive, entry directory]

 

[The following is summary and not translation. Bracketed commentary is my own, as is any boldface. Proofreading is incomplete, so typos are present, including in the quotations. Please consult the original text to be sure about the contents. Also, I welcome corrections to my interpretations, because I am not especially good with French.]

 

 

 

Summary of

 

Eugène Dupréel

 

La consistance et la probabilité constructive

 

Part 1

“La consistance”

 

1.7

Hiérarchie des notions

 

 

 

Brief summary:

(1.7.1) We turn now to an examination of degrees of consistency in the second class of beings, namely, notions, which we divide into two categories: {1} sensible ideas, which are based more or less directly on perceptions, and {2} intelligible or rational ideas, which are applied to knowledge and conduct and which include fundamental notions of right, morality, economic relations, aesthetics, philosophy, and science in general. (1.7.2) Perceptual notions are grounded in sensory experience. They are assigned names, and given that we have and use our perceptual faculties in common, we can trust that when we refer to perceptual notions that they will be correctly understood by others. (1.7.3) Sensible notions can always be refined and divided when broadening applications lead one to distinguish species among a genus. (1.7.4) Intelligible or rational ideas are formulated (élaborées) notions, but in fact they have less consistency than perceptual notions; for, they undergo variations of their meanings depending on the context and circumstances under which they are formulated, and thus they can be considered confused ideas. (1.7.5) These intelligible notions, although being confused ideas, still make-up the fabric of human society; for, they include such notions as justice, right, morality, and so forth. Given their important role in keeping society together, we feel the need for our actions to accord with these mutually agreed upon notions. However, whenever we wish to act in a way that does not accord with the conventional meaning of the notion, we will insist on changing its meaning to suit our desired actions. So it is because each individual will insist on a different meaning for a commonly held notion that these notions will inevitably lack consistency. (1.7.6) These social-fabric forming but sense-varying notions can be fixed when particular groups settle upon just one definition for the notion. But that does not assure the continued fixity of that definition, because by the same process other definitions can be assigned instead.

 

 

 

 

 

 

 

 

Contents

 

1.7.1

[The Two Types of Notions: Sensible and Intelligible/Rational Ideas]

 

1.7.2

[Perceptual Notions]

 

1.7.3

[Refinements of Sensible Notions]

 

1.7.4

[Intelligible Ideas as Having Less Consistency, Given Their Contextual Variances, and as Thus Being Confused Ideas]

 

1.7.5

[Intelligible Notions as Keeping the Social Fabric but Varying Inconsistently on Account of Individual Needs]

 

1.7.6

[Arbitrary and Unstable Definitional Fixations for Intelligible Notions]

 

 

 

 

 

 

 

 

 

Summary

 

 

1.7.1

[The Two Types of Notions: Sensible and Intelligible/Rational Ideas]

 

(p.14: “Sommairement, en vue seulement de ce que nous avons ...”)

 

[We turn now to an examination of degrees of consistency in the second class of beings, namely, notions, which we divide into two categories: {1} sensible ideas, which are based more or less directly on perceptions, and {2} intelligible or rational ideas, which are applied to knowledge and conduct and which include fundamental notions of right, morality, economic relations, aesthetics, philosophy, and science in general.]

 

[First recall from section 1.2.2 that the consistency of a being is its capacity to endure throughout a series of its vicissitudes. In section 1.5.1 we saw that a thing can only influence and be influenced by things of the same sort. So sensible, material things can only touch and be touched by other spatial objects. The same goes for abstract entities. Numbers can only interrelate with other numbers, pure ideas with other pure ideas, propositions with other propositions, and judgments with other judgments. And, as we saw in section 1.5.2, there are three main types of beings: {1} sensible or perceptible beings (which are also spatial and material), {2} notions, which are those things that depend on a subject to know or express them, like sensations, feelings, thoughts, reveries, and so on, and {3} values, which are dynamic beings, because they lead one to commit deliberative actions. Our concern at the moment is examining the “hierarchy” of beings in each category, meaning that we want to see how within each type of being, they can be scaled according to their levels of consistency. In the previous section 1.6, we examined spatio-temporal beings. The lowest sort (the ones with the least consistency) are “inconsistent” things, which are physical bodies that have properties that depend strongly on the consistencies of external objects. For example, the shape of a liquid or gaseous body depends on the shape of the more solid container enveloping it (see section 1.6.2.) At the middle stage are solids, which are things that are directly perceivable and that are capable of enduring for some time all while undergoing slow degradations, for example: stones, tools, jewels, and even whole planets (see section 1.6.1). And the highest sort of spatio-temporal beings are those that not only can resist and endure detrimental external influences but as well are able to repair themselves after undergoing such alterations, with the outcome of that self-repair often increasing their consistency to a higher degree than before the attack. Examples of the highest kind of spatio-temporal beings (those with the greatest consistency) are living beings, with thinking beings as the highest among them (see section 1.6.3). We now turn to the second class of beings, namely, notions. For the sake of examining their degrees of consistency, we divide notions into two categories: {1} sensible ideas, which are based more or less directly on perceptions, and {2} intelligible or rational ideas, which are applied to knowledge and conduct and which include fundamental notions of right, morality, economic relations, aesthetics, philosophy, and science in general.]

Sommairement, en vue seulement de ce que nous avons à en dire quant au degré de consistance, nous répartissons les notions en ces deux catégories : 1° les idées dites sensibles, fondées plus ou moins directement sur les perceptions, 2° les idées dites intelligibles ou rationnelles élaborées par le raisonnement en vue de leur application au savoir et à la conduite, telles sont les notions fondamentales du droit, de la morale, des relations économiques, de l’esthétique, de la philosophie et de la science en général (1).

(14)

(1) Les idées relevant des mathématiques et de la logique pure, trop incompétent pour aborder ici ce qu’elles peuvent avoir de particulier, je ne puis que les intégrer dans la seconde des deux catégories, au titre de notions élaborées en vue de l’expression de l’état de nos connaissances. A ce titre, et quelle que soit leur clarté immédiate ou leur simplicité apparente, ces idées ne peuvent que se régler quant à la signification qu’il importe de leur conserver, sur le progrès de la connaissance dont elles sont le moyen d’expression. Point donc ni d’idée à priori parfaitement immuable quant à la somme de ses propriétés, ni de système d’axiomes unique, péremptoire, imposant définitivement ses affirmations aux développements ultérieurs des connaissances. Une théorie de la consistance relative est donc du côté des partisans d’une « philosophie ouverte », telle, par exemple, que la représentent M. Gonseth et Dialectica.

(14)

[contents]

 

 

 

 

 

 

1.7.2

[Perceptual Notions]

 

(p.14-15: “Les notions à base de perception et leurs propriétés ”)

 

[Perceptual notions are grounded in sensory experience. They are assigned names, and given that we have and use our perceptual faculties in common, we can trust that when we refer to perceptual notions that they will be correctly understood by others.]

 

[Dupréel turns first to perceptual notions. I do not follow all this very well, so please see the quotation below. I will be guessing for now that the ideas are the following. My first guess is that Dupréel is saying that there are various different perceptual notions, and they are distinguished by a certain consistency that would group them altogether, with the consistency of that grouping being seen in how the word assigned to the grouping consistently refers to the same grouping regardless of the context of the word usage. As far as I can tell, this seems like something Hume would say about sensory impressions and how they are grouped by similarity and assigned by convention and habit a certain word. While I would have thought an example might be an impression of a color along with its word, like “red,” Dupréel gives the example of a thousand horse-power of a motor. No one will mistake this sensible notion, because it has a strong consistency, and that can be seen in how well the notion refers straightforwardly to the perceptions from which they originated and in how little variation there is in that reference to originating perceptions despite differences in the contexts of usage. I am not sure what those perceptions might be however for this horse-power example. Perhaps it is observing the motor operate all while a gauge displays its house-power. I am not sure, sorry. Next Dupréel seems to appeal to a notion of common sense faculties of all humans, because he says that we all have the same means of perception and that we are obliged to use them in a common way. On this basis we can be assured of the certainty of perceptual notions.]

Les notions à base de perception et leurs propriétés apparentes ou immédiatement déduites se distinguent par une consistance bien marquée. L’accord sur la signification du mot ou de la propo- | sition qui les exprime est assez facile et durable pour n’entraver qu’exceptionnellement la combinaison des besoins individuels et les relations entre associés. Autrement dit leur expression garde assez exactement la même signification quel que soit le discours dans lequel on les rencontre. Les autres mots de la phrase n’exercent sur cette signification aucune pression déformante. Ou si cela arrive le changement de sens qu’ils imposent est assez clair pour que l’on sache que c’est en réalité d’une autre notion qu’il est question dans ce cas. Personne ne se trompe sur la nature des mille chevaux d’un moteur. La raison de cette constance dont profitent les notions sensibles c’est que l’accord sur leur signification est facile à obtenir et à maintenir : il suffit de s’en référer aux perceptions qui sont à leur origine. Comme tous les sujets percevants ont les mêmes moyens de perception, on tombe d’accord en les exerçant en commun. La perception renouvelée, recours à l’expérience commune, maintient au profit de la notion et de son sens une sorte d’évidence assurée.

(14-15)

[contents]

 

 

 

 

 

 

1.7.3

[Refinements of Sensible Notions]

 

(p.15: “Si l’usage conduit à étendre la portée d’une expression ...”)

 

[Sensible notions can always be refined and divided when broadening applications lead one to distinguish species among a genus.]

 

[I will probably missummarize the next idea, so please see the quotation below. I am guessing for now the idea is the following. Often times we have a name for some sort of thing. For example, we see a wolf, and we call it such. But then we also see dogs, which seem at first to be wolfy enough to also call wolves, because in fact they are something like domesticated wolves. And we also see coyotes, and given how wolfy they are too, we call them wolves. But eventually as we find more wolfy things, like  jackals and whatever, we realize that our original term is being applied too generally, and it is missing important diversity. We certainly will want to distinguish a dog from a wolf in many cases, even though they are also similar enough to take a general name encompassing both. So we call any such wolfy thing a canis, being the genus, of which we have various species, like dogs, wolves, coyotes, etc. I do not follow Dupréel’s main point here, which he states at the end, but maybe he is saying the following, if I may guess wildly here. While sensible notions may lose consistency as they become over-applied, by making genus-species distinctions we see that they all along had consistency, only they were misnamed. Insofar as the notion was referring to the broader group, it gets the genus name and is understood to be a notion for that genus, and insofar as it was referring to the narrower group, it gets the species name and is understood as being a notion for that species alone. Please see the following to be sure of the idea here.]

Si l’usage conduit à étendre la portée d’une expression à un nombre de plus en plus grand d’objets, de plus en plus divers, l’accord sur une définition pourra rétablir la consistance menacée en écartant certains sens adventices ; lesquels auront à être pourvus d’une appellation particulière. Lorsqu’une espèce animale ou végétale plus complètement explorée pose aux naturalistes la question de savoir si la rubrique consacrée convient encore pour désigner indistinctement tous les individus observés, ils se décident à passer de la considération d’une espèce unique à celle d’un genre comportant plusieurs espèces distinguées chacune par quelque différence. La consistance propre aux notions sensibles assure donc à celles-ci l’avantage de ne pas varier de sens à travers la diversité des occasions d’en insérer l’expression dans un discours ou un raisonnement.

(15)

[contents]

 

 

 

 

 

 

1.7.4

[Intelligible Ideas as Having Less Consistency, Given Their Contextual Variances, and as Thus Being Confused Ideas]

 

(p.15-16: “2° En dépit de leur importance et de leur prestige, ...”)

 

[Intelligible or rational ideas are formulated (élaborées) notions, but in fact they have less consistency than perceptual notions; for, they undergo variations of their meanings depending on the context and circumstances under which they are formulated, and thus they can be considered confused ideas.]

 

[We turn next to intelligible or rational ideas. We normally give them greater importance and prestige than sensible ideas, because we call intelligible ideas “formulated” (élaborées) notions. This might make us think, then, that they have greater consistency than sensible ideas. However, normally the opposite is the case. Unlike sensible notions, which as we saw in section 1.7.2, maintain a high degree of consistency despite various contextualizations on account of our commonly held perceptual faculties, intelligible notions often undergo variances to their meaning, making them relatively inconsistent. We thus may say that the formulated notions of this second category are confused ideas in that their meaning is subject to variation according to the circumstances under which they are formulated.]

2° En dépit de leur importance et de leur prestige, les notions dites intelligibles ou rationnelles que nous opposons, quant à nous, aux idées sensibles en les appelant élaborées (1), loin d’être caractérisées par une consistance qui serait supérieure à celle des notions sensibles, sont au contraire affligées d’une propension à varier quant à leur sens, qui leur vaut une inconsistance relative | très caractérisée. Nous pourrons dire que les notions élaborées de notre deuxième catégorie sont en fait des idées confuses en ce que leur signification est sujette à varier selon les circonstances où elles sont formulées.

(15-16)

(1) En fait toutes les notions, même sensibles, sont plus ou moins élaborées. La distinction que nous faisons ici est donc pratique l’t provisoire.

(15)

[contents]

 

 

 

 

 

 

1.7.5

[Intelligible Notions as Keeping the Social Fabric but Varying Inconsistently on Account of Individual Needs]

 

(p.16: “Il ne s’ensuit nullement un manque de valeur ...”)

 

[These intelligible notions, although being confused ideas, still make-up the fabric of human society; for, they include such notions as justice, right, morality, and so forth. Given their important role in keeping society together, we feel the need for our actions to accord with these mutually agreed upon notions. However, whenever we wish to act in a way that does not accord with the conventional meaning of the notion, we will insist on changing its meaning to suit our desired actions. So it is because each individual will insist on a different meaning for a commonly held notion that these notions will inevitably lack consistency.]

 

[The variance of intelligible notions (also called confused ideas) that we saw above in section 1.7.4 does not mean that they are entirely devoid of any value. For, all social order and all individual conduct rest on a relative agreement on the meaning of such notions as right or law, morality, economic agreement, and philosophical and religious thought. The common sense (of a society) is formed entirely from these agreements, and the concern for promoting and preserving these mutual understandings is the source of social order and peace. So, for the sake of the social order, it is important that our actions accord with these socially agreed upon notions (like what is right, moral, wise, practical, etc.) But then, when we find that the actions we are inclined to make do not accord with the conventional understanding of the notions, then we often struggle to redefine those notions to conform with the actions we wish to take, as a sort of way to socially sanction and legitimize those actions. Thus we might want to insist on an understanding of justice that suits our own convenience, even if others insist on a meaning that inconveniences us. For this reason, despite the importance of such notions that form our social fabric, they will always be inconsistent on account of each individual’s insistence on a variation of their meaning that suits their own interests.]

Il ne s’ensuit nullement un manque de valeur qui serait totale ; tout l’ordre social et toutes les conduites individuelles reposent sur un accord relatif quant à la signification des notions du droit, de la morale, des ententes économiques, de la pensée philosophique et religieuse ; le sens commun est tout formé de ces accords et le souci de favoriser l’entente ou de la conserver est à la source de l’ordre social et de la paix. Mais c’est justement du fait qu’il y a urgence d’établir que nos agissements sont conformes aux accords fondés sur ces notions qu’il s’ensuit que chacun de nous est porté à les interpréter conformément à ses convenances personnelles : « Je n’appelle pas justice ce que mon adversaire prétend qu’elle est, la vraie justice, au contraire c’est etc . . . ». Ce n’est pas seulement la chicane sans probité qui ébranle de la sorte le sens vacillant des notions confuses, même les meilleures intentions incitent à proposer d’une même notion une interprétation particulière : la noblesse même de la cause qu’on défend incite à déduire l’interprétation qu’on préfère, et à repousser un sens qui la contredirait.

(16)

[contents]

 

 

 

 

 

 

1.7.6

[Arbitrary and Unstable Definitional Fixations for Intelligible Notions]

 

(p.16-17: “Ainsi, plus une notion est haute et prestigieuse, ...”)

 

[These social-fabric forming but sense-varying notions can be fixed when particular groups settle upon just one definition for the notion. But that does not assure the continued fixity of that definition, because by the same process other definitions can be assigned instead.]

 

[In section 1.7.2 we saw that sensible notions lend themselves to high degrees of consistency, because on account of the common sense faculties of all people, they will refer to the same sorts of perceptual experiences and thereby maintain their meaning across various contexts of application. More abstract notions, as we saw above in sections 1.7.4 and 1.7.5, are less grounded in such fixed referents, and on account of differing individual needs, they will take on various meanings for different people. Thus the more a notion is detached from the brute reality of fact and for that reason be considered to be of a higher worth, the more its meaning will diverge into opposite directions. (The next ideas I might get wrong, so see the quotation below.) However, a group may collectively decide upon a definition for an intelligible notion and exclude the other variations on it. But nonetheless, such a procedure for fixing a definition is an arbitrary one that leaves the notion open to other re-definitions.]

Ainsi, plus une notion est haute et prestigieuse, éloignée qu’elle est de l’expérience brute des faits, construite au contraire à partir d’autres idées déjà sujettes à interprétation, plus elle sera exposée à voir sa signification diverger dans des directions opposées. Mais cette analyse ne doit pas conduire à un pessimisme trop marqué : la vie sociale, qui souffre de l’imprécision de ses notions les plus élevées, réagit opportunément par des conventions renouvelées. Un sens moins équivoque sera reeconnu à telle notion importante par l’accord sur une définition expresse, faite à dessein d’exclure les sens multiples qui ont proliféré, au profit exclusif du sens retenu. Ce recours à des définitions renouvelées réussit dans certaines limites, fortifiant à tout le moins l’accord des membres d’un groupe. Mais les définitions des notions élaborées sont toujours un cas particulier du même système d’élaboration, elles emploient à leur tour des notions confuses sur lesquelles la discussion pourrait se prendre. Les définitions convenues, multiples et opposables, laissent chimérique la prétention de saisir de la | notion discutée un sens précis, unique et cohérent, définitivement exclusif de tout autre.

(16-17)

[contents]

 

 

 

 

 

Dupréel, Eugène. (1961). La consistance et la probabilité constructive. (Classe des lettres et des sciences morales et politiques 55, no.2). Brussels: Académie Royale de Belgique.

PDF at:

http://www.academieroyale.be/fr/les-publications-memoires-detail/oeuvres-2/la-consistance-et-la-probabilite-constructive/.\

.

.

3 Jul 2016

Peirce (CP1.314-1.316) Collected Papers of Charles Sanders Peirce, Vol1/Bk3/Ch2/A/§9, "The Communicability of Feelings", summary

 

by Corry Shores

 

[Search Blog Here. Index-tags are found on the bottom of the left column.]

 

[Central Entry Directory]

[Logic & Semantics, Entry Directory]

[C.S. Peirce, entry directory]

[Collected Papers of Charles Sanders Peirce, entry directory]

 

[The following is summary. Boldface and bracketed commentary are mine. Proofreading is incomplete, so please forgive my typos.]

 

 

Summary of

 

Charles Sanders Peirce

 

Collected Papers of Charles Sanders Peirce

 

Volume 1: Principles of Philosophy

 

Book 3: Phenomenology

 

Chapter 2: The Categories in Detail

 

A: Firstness

 

§9: The Communicability of Feelings [1.314-1.316]

 

 

Brief summary:

If your and my inner experiences of the same things were drastically dissimilar, we would not be able to communicate with each other intelligibly about them. However, they are in fact similar between humans. We can see this because two feelings from different sense modalities that are similar for us will be similar for others. For example, for most people the experience of hearing the blare of a trumpet will be similar to that of seeing the color scarlet. We can state to one another that these feelings from different senses are similar, so we can then know that our experiences of each feeling must be analogous. Furthermore, we can know that our sense experiences are analogous to those of other animals. For example, we can see from their behavior that one of their senses is analogous to one of ours with respect to the roles they play in each of our lives. For instance, a dog’s sense of smell is analogous to a human’s sense of sight with regard to the primary roles they play in information gathering. We also by interacting with animals and by observing their behavior can see that even though we seem to react differently to certain sensible things, we do seem to sense the same things and to have similar sensory experiences of them. Although science has not been able to demonstrate this, certain artistic sorts of minds have come to understand it, and they are correct. Lastly, the fact that this is an anthropomorphic view of the world around us (and especially of animals) is not a problem, because indeed in some fundamental sense the world is like the human mind. Science has shown for example that the world must be like human reason, on account of the fact that our human knowledge of the physical world has been so successful in predicting its behavior and instrumentalizing it for human use.

 

 

 

Summary

 

1.314

[Our feelings are communicable, because they are sufficiently common between us. We might not be able to get inside another person’s mind to know how they are experiencing something, but we can know our experiences are similar. For, other people will report similarities between experiences of different senses that hold for us as well, like how many people will report that the sensation of hearing a trumpet’s blare is similar to seeing the scarlet red. Even many animals sense the world in a similar way, even if they react differently, and so we can communicate feelings with animals sympathetically in our interactions with them.]

 

[Peirce addresses the issue of whether or not feelings are similar enough between individuals to be communcable. He thinks that in fact they are, on account of the communicability of analogies of different sorts. One sort is the analogy between different sensory modalities. We saw in the prior sections 1.312 and 1.313 the example of the blind man wondering if a trumpet’s blare is like the color scarlet. Peirce says that he also recognizes this analogy between the two feelings. So while we might not know what it is like to be in another person’s head while they hear a trumpet blaring or seeing the color red, we can know that for them the two are similar, which indicates that our experiences of each are also similar. Peirce then goes further to say that even the feelings animals have are similar enough to ours to be communicable. Here the matter of analogy is not between the different sense modalities of an individual. Rather, it is somewhat more vague and a matter of observing animal behavior. For one thing, we can see that a dog’s sense of smell gives it important information, while for us our vision plays more of that role of primary information gatherer. Thus the dog’s sense of smell is in that way analogous to our vision. And normally, by again observing the dog’s behavior, we can tell that it is smelling something that we can smell too. It might be very faint for us but very easy to detect for them. And the dog might be very interested in the smell while it might disgust us. But even with these differences being apparent, we can see that the human’s and the animal’s experiences are analogous in that both are having some sort of a smell experience of something. To try to elaborate Peirce’s notion further, suppose that there is a particular smell that always disgusts us and that always interests the dog, and suppose there is another smell – Peirce gives the example of a rose’s perfume – that interests us but that does not interest the dog. Perhaps these consistencies in correspondence indicate to us that our smelling experiences are analogous even though we react differently to the common smell we are sensing].

Philosophers, who very properly call all things into question, have asked whether we have any reason to suppose that red looks to one eye as it does to another. I answer that slight differences there may be, but [consider the blind man imagining] red to resemble the blare of a trumpet. He had collected that notion from hearing ordinary people converse together about colors, and since I was not born to be one of those whom he had heard converse, the fact that I can see a certain analogy, shows me not only that my feeling of redness is something like the feelings of the persons whom he had heard talk, but also his feeling of a trumpet’s blare was very much like mine. I am confident that a bull and I feel much alike at the sight of a red rag. As for the senses of my dog, I must confess that they seem very unlike my own, but when I reflect to how small a degree he thinks of visual images, and of how smells | play a part in his thoughts and imaginations analogous to the part played by sights in mine, I cease to be surprised that the perfume of roses or of orange flowers does not attract his attention at all and that the effluvia that interest him so much, when at all perceptible to me, are simply unpleasant. He does not think of smells as sources of pleasure and disgust but as sources of information, just as I do not think of blue as a nauseating color, nor of red as a maddening one. I know very well that my dog’s musical feelings are quite similar to mine though they agitate him more than they do me. He has the same emotions of affection as I, though they are far more moving in his case. You would never persuade me that my horse and I do not sympathize, or that the canary bird that takes such delight in joking with me does not feel with me and I with him; and this instinctive confidence of mine that it is so, is to my mind evidence that it really is so. My metaphysical friend who asks whether we can ever enter into one another’s feelings – and one particular sceptic whom I have in mind is a most exceptionally sympathetic person, whose doubts are born of her intense interest in her friends – might just as well ask me whether I am sure that red looked to me yesterday as it does today and that memory is not playing me false. I know experimentally that sensations do vary slightly even from hour to hour; but in the main the evidence is ample that they are common to all beings whose senses are sufficiently developed.

(Peirce 157-158)

 

 

1.315

[Science may not have been able to make this discovery yet, but artists have, and they are correct.]

 

[I am not sure of this next idea, but it seems to be that although what Peirce is saying might not be scientific, it is in fact an insight that goes beyond what science has been capable of finding.]

 

I hear you say: “All that is not fact; it is poetry.” Nonsense! Bad poetry is false, I grant; but nothing is truer than true poetry. And let me tell the scientific men that the artists are much finer and more accurate observers than they are, except of the special minutiae that the scientific man is looking for.

(159)

 

 

1.316

[Science has demonstrated that the world is somehow analogous to human reason, as our way of understanding it seems to be accurate. This is an anthropomorphic view. Peirce’s idea that animals experience the world like we do is likewise an anthropomorphic view and likewise should not be seen as a flaw.]

 

[I am not sure of the next idea, but it seems to be the following. Peirce addresses the criticism that he is making too much of an anthropomorphic claim. I am not sure why the communicability of the senses between humans would be problematic in that way, so I think this must be referring to the idea that we can conclude animals experience the world like we do. But I am not sure if he is also making some claim about the world itself, like how in the prior sections he was attributing a psychic element to the physical things in the world. At any rate, he defends his anthropomorphism in the following way. He notes that it already exists in the sciences. For, they assume that the world is of such a structure that it lends itself to human understanding and is thus in some sense analogous to human reason. And the success of the sciences in aiding human life seems to attest to the accuracy of this assumption. Peirce therefore thinks that his own anthropomorphism which sees animals (and maybe inert things) as experiencing the world similarly to how we do is therefore justified.]

I hear you say: “This smacks too much of an anthropomorphic conception.” I reply that every scientific explanation of a natural phenomenon is a hypothesis that there is something in nature to which the human reason is analogous; and that it really is so all the successes of science in its applications to human convenience are witnesses. They proclaim that truth over the length and breadth of the modern world. In the light of the successes of science to my mind there is a degree of baseness in denying our birthright as children of God and in | shamefacedly slinking away from anthropomorphic conceptions of the universe.

(158-159)

 

 

 

 

 

 

Peirce, C.S. Collected Papers of Charles Sanders Peirce, Vol 1: Principles of Philosophy.  In Collected Papers of Charles Sanders Peirce [Two Volumes in One], Vols. 1 and 2. Edited by Charles Hartshorne and Paul Weiss. Cambridge, Massachusetts: 1965 [1931].

 

.

18 Mar 2010

Liquid Rhythm [70] Francis Bacon: Triptych, 1972. Deleuze on Bacon, Painting Series

by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]Link

[Central Entry Directory]
[Deleuze Entry Directory]



[I am profoundly grateful to the sources of these images:
Editions de la différence.
Credits given at the end.]

[The following is quotation. My commentary is bracketed in red.]



Liquid Rhythm

(Thanks Estate of Francis Bacon,
Editions de la différence,
and Tate)


Francis Bacon



Painting 70 of Deleuze's
Francis Bacon: Logique de la sensation. Tome II - Peintures
Painting [70] of the English translation
and Painting [70] of the Seuil 2002 French

A 1972 Triptych [70] shows a Figure whose back is "diminished," but whose leg is already complete, and another Figure whose torso has been completed, but who is missing one leg and whose other leg runs. These are monsters from the point of view of figuration. But from the point of view of the Figures themselves, these are rhythms and nothing else, rhythms as in a piece of music, as in the music of Messiaen, which makes you hear "rhythmic characters." (Deleuze 2003: xv)

This would be the augmentation-diminution opposition. There can be an extraordinary subtlety in what one chooses to add or take away: here we enter into a more profound domain of values and rhythm, since what is added or subtracted is not a quantity, a multiple or submultiple, but values defined by their precision or "brevity." In particular, an added value can sometimes be produced by random spurts of paint, which Bacon likes to utilize. But perhaps the most striking and most moving example is in the triptych of August 1972 [70]. If the attendant in the center is furnished with elongations and a well-defined mauve oval, we find a diminished torso in the Figure on the left, since a whole portion of it is missing, while the torso on the right is in the process of being built up, half of it having already been added. But then everything changes with the legs. In the left panel, one leg is already finished, while the other is in the process of being defined; in the right panel, it is just the opposite: one leg is already amputated, while the other is flowing away. Correlatively, the mauve oval in the center changes status, turning into a pink pool lying next to the chair, in the left panel, and a red discharge from the leg, in the right panel. In this way, Bacon uses mutilations and prostheses in a game of added and subtracted values. It is like a collection of hysterical "sleepings" and "awakenings" affecting the diverse parts of a body. But it is above all one of Bacon's most profoundly musical paintings. (Deleuze 2003: 56b.d)

Ce serait l'opposition augmentation-diminution. Il peut y avoir en effet une extraordinaire subtilité dans le choix de quelque chose qu'on ajoute ou qu'on retire : on entre plus profondément dans le domaine des valeurs et du rythme, pour autant que ce qu'on ajoute ou qu'on soustrait n'est pas une quantité, un multiple ou un sous-multiple, mais des valeurs définies par leur précision ou leur « brièveté ». Il peut se faire notamment que la valeur ajoutée soit un jet de peinture au hasard, comme les aime Bacon. Mais peut-être l'exemple le plus frappant et le plus émouvant est-il dans le triptyque d'août 1972 : si le témoin est fourni au centre par les allongés, et par l'ovale mauve bien déterminé, on voit sur la Figure de gauche un torse diminué, puisque toute une partie en manque, tandis qu'à droite le torse est en voie de se compléter, s'est déjà ajouté une moitié. Mais aussi tout change avec les jambes : à gauche une jambe est déjà complète, tandis que l'autre est en train de se dessiner ; et à droite, c'est l inverse : une jambe est déjà amputée, tandis que l'autre s'écoule. Et corrélativement l'ovale mauve du centre trouve un autre statut, devenu à gauche une flaque rose subsistante à côté de la chaise, et à droite un écoulement rose à partir de la jambe. C'est ainsi que les mutilations et les prothèses chez Bacon servent à tout un jeu de valeurs retirées ou ajoutées. C'est comme un ensemble de « sommeils » et de «réveils » hystériques affectant diverses parties d'un corps. Mais c'est surtout un des tableaux les plus profondément musicaux de Bacon. (Deleuze 2002: 76d.77b)


[Messiaen finds that rhythmic patterns can have a certain character, like how each different bird-call has its own character. (For more on rhythmic characters, see the Messiaen part of this entry, or for even more detail, see this entry). In fact, we might think of such rhythms as themselves being characters that actors might play. He distinguishes three: active, passive, and attendant. The active acts-upon the passive. It is like a sort of violence. Concretely, what we see is the active rhythmic character increases in some magnitude, while the passive decreases. It gives us the impression that the active one is striking-down upon the passive. All the while, there is an attendant rhythm, an observer if you will. His magnitude remains relatively constant. Perhaps the idea with the attendant rhythm is that it is like the frame of reference in physics, considered unmoving, all while the other motions move in relation to it.

Deleuze finds similar rhythmic characters in Bacon's painting, again, active, passive, and attendant. On the one hand, these rhythms express themselves in concrete features of the painting. For example, one figure might be holding a camera and for that reason seem to be observing the other figures. On this basis, he analyzes particular features of the paintings. But in a more profound way, there are such rhythms that are found in how our nervous systems are affected by the paintings. There is a rhythm of our sensations. So the active, passive, and attendant are really more like functions that the figures take-on. And they can exchange and circulate these functions, in accordance with how our bodies are affected by the painting at any given moment.

The figure in the center panel seems to have been elongated by horizontal forces.

(And again, I thank Estate of Francis Bacon,
Editions de la différence,
and Tate)

It seems to be neither increasing nor decreasing. So it does not give us a feeling of augmentation or diminution. For this reason, it serves as the stable attendant rhythm.

All the while, the left figure's torso is concaving inward. It gives us the feeling of diminishment. So it expresses the passive rhythmic character.

(Thanks Estate of Francis Bacon,
Editions de la différence,
and Tate)

But in the right figure, we see his torso convexing outward. When we sense this augmenting force, the figure takes-on the active rhythmic character.

(Thanks Estate of Francis Bacon,
Editions de la différence,
and Tate)

Yet the figures are not so simple, Deleuze observes. One leg gives us the feeling that it is completed. So sense in it the attendant rhythm. The other leg on this figure seems like it is coming into being, and hence is the active character.

(Again, thanks Estate of Francis Bacon,
Editions de la différence,
and Tate)


Yet in the right figure, one leg seems already amputated, while the other, seems to be floating away. Perhaps they provide the passive rhythm.]

(Thank you Estate of Francis Bacon,
Editions de la différence,
and Tate)


The presence of a body without organs under the organism, the presence of transitory organs under organic representation. A clothed Figure of Bacon's is seen nude in the mirror or on the canvas (Two Studies for a Portrait of George Dyer,1968 [50]). The spastics and the hyperesthetics are often indicated by wiped or scrubbed zones [71], and the anesthetics and paralytics, by missing zones (as in the very detailed 1972 triptych [70]). (Deleuze 2003: 36ab)

Présence d'un corps sans organes sous l'organisme, présence des organes transitoires sous la représentation organique. Habillée, la Figure de Bacon se voit nue dans le miroir ou sur la toile [69]. Les contractures et les hyperesthésies sont souvent marquées de zones nettoyées, chiffonnées [70], et les anesthésies, les paralysies, de zones manquantes (comme dans un triptyque très détaillé de 1972 [73]).

[The figures in Bacon's paintings affect us in continually varying ways. They cause us to encounter differences upon differences, all while we feel forced to try to make sense of what we see. Consider the non-sense in Lewis Carroll's Alice stories. On the one hand, we feel compelled to make sense of what is going on, while on the other hand, the inherent non-sense prevents us from doing so. Bacon's paintings are similar in this way: we feel compelled to aesthetically put-together what we see, all while the rhythm of the random variations prevents us from being able to do so. This is a sort of non-sense of our aesthetic senses. It sends our bodies into disarray. Its parts no longer work together concordantly and organically. Hence our bodies become disorganized, and in a sense, a body without organs (see this entry for more on the Body without Organs). Deleuze points-out that in these paintings, Bacon depicts bodies with amputated organs.]

(With my gratitude to


[The armature] can consist in the action of a very particular section of the field that we have not yet considered: the field occasionally includes a black section, sometimes quite localized (Pope No. II, 1960 [27]; Three studies for a Crucifixion, 1962 [29]; Portrait of George Dyer Staring into a Mirror, 1967 [45]; Triptych, 1972 [70]; Portrait of a Man Walking down Steps, 1972 [68]), (Deleuze 2003: 104c)

[l'armature peut] consister dans l'action d'une section très particulière de l'aplat que nous n'avons pas encore considérée : en effet, il arrive que l'aplat comporte une section noire, tantôt bien localisée (« Pape n° 2 » 1960 [45], « Trios études pour une crucifixion » 1962, « Portrait de George Dyer regardant fixement dans une miroir »1967, « Triptyque » 1972, «Homme descendant l'escalier » 1972), (Deleuze 2002: 140c.d)

[We might notice how Bacon's backgrounds seem flat. This gives us the sense that the figures would drop out the painting's bottom if they were not secured somehow. Deleuze identifies parts of Bacon's paintings that act like sculpting armatures: they prop the figure up and hold it in place. In this case, Deleuze says that the black squares in the background serve this function.]

(Thank you Estate of Francis Bacon,
Editions de la différence,
and Tate)


Many large contours, for example, are treated as rugs (Man and Child, 1963 [32];Three Studies for a Portrait of Lucian Freud, 1966 [38]; Portrait of George Dyer Staring into a Mirror, 1967 [45]), and seem to constitute a decorative regime of color. This third regime can be seen even better in the existence of the small contour, within which the Figure is erected and which can deploy delightful colors - for example, the perfect lilac oval in the central panel of the 1972 Triptych [70], which gives way to an uncertain rose-colored pool in the left and right panels; or the gold-orange oval that radiates from the door in the 1978 Painting [81]. (Deleuze 2003: 106.c)

et par exemple beaucoup de grands contours seront traités comme des tapis ( « Homme et Enfant » 1963, «Trois études pour un portrait de Lucian Freud »1966,«Portrait de George Dyer dans un miroir » 1968, etc.). On dirait un régime décoratif de la couleur. Ce troisième régime se voit encore mieux dans l'existence du petit contour, où se dresse la Figure, et qui peut déployer des couleurs charmantes : par exemple dans le « Triptyque » 1972 [70], l'ovale parfait mauve du panneau central, qui laisse place à droite et à gauche à une flaque rose incertaine ; ou bien dans « Peinture » de 1978 [23], l'ovale orange-or qui irradie sur la porte. (Deleuze 2002: 142c.d)

[We also find that Bacon's figures are often enclosed by some shape or object. There will be a contour to what encases the figure. In this case, Deleuze notices smaller contours filled-out by color. They are the rose-colored pools and the lilac oval.]

(Thanks Estate of Francis Bacon,
Editions de la différence,
and Tate)


(Thanks very much


(Once again, thank you Estate of Francis Bacon,
Editions de la différence,
and Tate)



Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Transl. Daniel W. Smith. London/New York: Continuum, 2003.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Paris: Seuil, 2002.



Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.


Images obtained quite gratefully from:

Triptych – August 1972
Oil on canvas
198 x 1475 mm each
© The Estate of Francis Bacon/DACS 2008


Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.