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ONE:Aristotle��s treatise on the soul is mainly devoted to a description of the theoretical faculties��sense, and thought or reason. By sense we become acquainted with the material qualities of things; by thought with their forms or ideas. It has been already mentioned that, according to our philosopher, the organism is a system of contrary forces held in equilibrium by the soul, whose seat he supposes to be in the heart. We now learn that every sensation is a disturbance of this equilibrium. In other words, the sensorium being virtually any and every mode of matter, is raised from possibility to actuality by the presence of some one force, such as heat or cold, in sufficient strength to incline the balance that way. Here we have, quite in Aristotle��s usual style, a description instead of an explanation. The atomic notion of thin films thrown off from the object of sense, and falling on the organs of sight or touch, was but a crude guess; still it has more affinity with the discoveries of a Young or a Helmholtz than scholastic phrases about potentiality and actuality. That sensation implies a disturbance of equilibrium is, indeed, an important truth; only, the equilibrium must be conceived as a balance, not of possible sensations, but of molecular states; that is to say, it must be interpreted according to the atomic theory.Artistic drawing is addressed to the senses, geometrical drawing is addressed to the understanding. Geometrical drawing may, however, include artistic skill not in the way of ornamentation, but to convey an impression of neatness and completeness, that has by common custom been assumed among engineers, and which conveys to the mind an idea of competent construction in the drawing itself, as well as of the machinery which is represented. Artistic effect, so far as admissible in mechanical drawing, is easy to learn, and should be understood, yet through a desire to make pictures, a beginner is often led to neglect that which is more important in the way of accuracy and arrangement.

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ONE:CHAPTER VII

Our latests thoughts about things that only matters to us.

THREE:Using the tramline was a bit of a risk, but Lalage took it. He wanted to be on familiar ground before his escape had been discovered. He had one object steadily in view, and after that was done he cared nothing. He came at length to a dismal looking road leading off Waterloo Bridge. Before what seemed an empty house he paused and knocked. A feeble gleam filtered in the fanlight and the door opened.

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THREE:��Hello, boys!��In modern parlance, the word scepticism is often used to denote absolute unbelief. This, however, is a misapplication;124 and, properly speaking, it should be reserved, as it was by the Greeks, for those cases in which belief is simply withheld, or in which, as its etymology implies, the mental state connoted is a desire to consider of the matter before coming to a decision. But, of course, there are occasions when, either from prudence or politeness, absolute rejection of a proposition is veiled under the appearance of simple indecision or of a demand for further evidence; and at a time when to believe in certain theological dogmas was either dangerous or discreditable, the name sceptic may have been accepted on all hands as a convenient euphemism in speaking about persons who did not doubt, but denied them altogether. Again, taken in its original sense, the name sceptic is applicable to two entirely different, or rather diametrically opposite classes. The true philosopher is more slow to believe than other men, because he is better acquainted than they are with the rules of evidence, and with the apparently strong claims on our belief often possessed by propositions known to be false. To that extent, all philosophers are sceptics, and are rightly regarded as such by the vulgar; although their acceptance of many conclusions which the unlearned reject without examination, has the contrary effect of giving them a reputation for extraordinary credulity or even insanity. And this leads us to another aspect of scepticism��an aspect under which, so far from being an element of philosophy, it is one of the most dangerous enemies that philosophy has to face. Instead of regarding the difficulties which beset the path of enquiry as a warning against premature conclusions, and a stimulus to more careful research, it is possible to make them a pretext for abandoning enquiry altogether. And it is also possible to regard the divergent answers given by different thinkers to the same problem, not as materials for comparison, selection or combination, nor even as indications of the various directions in which a solution is not to be sought, but as a proof that125 the problem altogether passes the power of human reason to solve.

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THREE:Once, nearly all mechanical knowledge was of the class termed special, and shop manipulations were governed by empirical rules and the arbitrary opinions of the skilled; an apprentice entered a shop to learn a number of mysterious operations, which could not be defined upon principles, and only understood by special practice and experiment. The arrangement and proportions of mechanism were also determined by the opinions of the skilled, and like the manipulation of the shop, were often hid from the apprentice, and what he carried in his memory at the end of an apprenticeship was all that he had gained. The tendency of this was to elevate those who were the fortunate possessors of a strong natural capacity, and to depress the position of those less fortunate in the matter of mechanical "genius," as it was called. The ability to prepare proper designs, and to succeed in original plans, was attributed to a kind of intuitive faculty of the mind; in short, the mechanic arts were fifty years ago surrounded by a superstition of a different nature, but in its influences the same as superstition in other branches of knowledge.

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ONE:Aristotle��s treatise on the soul is mainly devoted to a description of the theoretical faculties��sense, and thought or reason. By sense we become acquainted with the material qualities of things; by thought with their forms or ideas. It has been already mentioned that, according to our philosopher, the organism is a system of contrary forces held in equilibrium by the soul, whose seat he supposes to be in the heart. We now learn that every sensation is a disturbance of this equilibrium. In other words, the sensorium being virtually any and every mode of matter, is raised from possibility to actuality by the presence of some one force, such as heat or cold, in sufficient strength to incline the balance that way. Here we have, quite in Aristotle��s usual style, a description instead of an explanation. The atomic notion of thin films thrown off from the object of sense, and falling on the organs of sight or touch, was but a crude guess; still it has more affinity with the discoveries of a Young or a Helmholtz than scholastic phrases about potentiality and actuality. That sensation implies a disturbance of equilibrium is, indeed, an important truth; only, the equilibrium must be conceived as a balance, not of possible sensations, but of molecular states; that is to say, it must be interpreted according to the atomic theory.

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