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There are genuine ethical, and ultimately metaphysical, concerns underlying the worries about ought and is and the naturalistic fallacy. At the heart of them is an idea that our values are not “in the world,” that a properly untendentious description of the world would not mention any values, that our values are in some sense imposed or projected on to our surroundings. This discovery, if that is what it is, can be met with despair, as can the loss of a teleologically significant world. But it can also be seen as a liberation, and a radical form of freedom may be found in the fact that we cannot be forced by the world to accept one set of values rather than another
Bernard Williams Ethics and the Limits of Philosophy
La ‘sensibilidad’ cubre un amplio grupo de contenidos: el sensorial, el sensacional, el sensitivo, el sensible y el sentimental, junto con el sensual. Incluye casi todo, desde el mero choque emocional y físico hasta la sensación misma presente en la experiencia inmediata. Cada término se refiere a alguna fase y aspecto real de la vida de una criatura organizada, en tanto que la vida se produce a través de los órganos de los sentidos. Pero la sensación, en el sentido de estar tan directamente incorporada a la experiencia que ilumina el significado de ésta, es el único que expresa la función de los órganos de los sentidos cuando se conduce a plena realización. Los sentidos son los órganos a través de los cuales la criatura viviente participa directamente en los sucesos del mundo que lo rodea. En esta participación la maravilla y el esplendor variados de este mundo se hacen reales para él, en las cualidades que experimenta.
J. Dewey
The art of reading is in many ways opposed to the art of writing. Read- ing is a craft that enriches the text conceived by the author, deepening it and rendering it more complex, concentrating it to reflect the reader’s personal experience and expanding it to reach the farthest confines of the reader’s uni- verse and beyond. Writing, instead, is the art of resignation. The writer must accept the fact that the final text will be but a blurred reflection of the work conceived in the mind, less enlightening, less subtle, less poignant, less pre- cise. The imagination of a writer is all-powerful, and capable of dreaming up the most extraordinary creations in all their wishful perfection. Then comes the descent into language, and in the passage from thought to expres- sion much—very much—is lost. To this rule there are hardly any exceptions. To write a book is to resign oneself to failure, however honorable that failure might be.
Alberto Manguel 'Curiosity'
The moral law is more exigent than the law of an actual liberal republic, because it allows no emigration, but it is unequivocally just in its ideas of responsability.
Bernard Williams Ethics and the Limits of Philosophy
Marc Chagall with a model in his studio, 1955.
Photo by Mark Shaw.
From within love, we conceal the chance nature of our lives behind a purposive veil. We insist that the meeting with our redeemer, objectively haphazard and hence unlikely, has been prewritten in a scroll slowly unwinding in the sky. We invent a destiny to spare ourselves the anxiety that would arise from acknowledging that the little sense there is in our lives is merely created by ourselves, that there is no scroll (and hence no preordained fate awaiting) and that who we may or may not be meeting on airplanes has no sense beyond that we choose to attribute to it — in short, the anxiety that no one has written our story or assured our loves.
Alain de Botton Essays in Love
The spectacular views of the wisteria flowers at Kawachi Fuji Gardens, in Kitakyushu, Japan is another shining example of Japanese perception of beauty and architecture. The private garden hosts around 150 wisteria flowering plants of 20 different species. The crown jewel of the garden, ...
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ilunado reblogged this · 11 years ago
