14 ideas
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 20653 | Six reduction levels: groups, lives, cells, molecules, atoms, particles [Putnam/Oppenheim, by Watson] |
| Full Idea: There are six 'reductive levels' in science: social groups, (multicellular) living things, cells, molecules, atoms, and elementary particles. | |
| From: report of H.Putnam/P.Oppenheim (Unity of Science as a Working Hypothesis [1958]) by Peter Watson - Convergence 10 'Intro' | |
| A reaction: I have the impression that fields are seen as more fundamental that elementary particles. What is the status of the 'laws' that are supposed to govern these things? What is the status of space and time within this picture? |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |
| 21733 | The right-wing conception of freedom is based on the idea of self-ownership [Cohen,GA] |
| Full Idea: The right-wing conception of freedom is, I think, founded on the idea that each person is the morally rightful owner of himself, even if existing legal systems do not acknowledge it. Let us call that the 'self-ownership' thesis. | |
| From: G.A. Cohen (Are Freedom and Equality Compatible? [1986], 1) | |
| A reaction: He cites Nozick as articulating this view. At the end Cohen rejects self-ownership, though he agrees that no one would accept that the state could be the owner of your eyes. Do I own my hair after it is cut? |
| 21739 | Plenty of people have self-ownership, but still lack autonomy [Cohen,GA] |
| Full Idea: Universal self-ownership fails to ensure autonomy, since it tends to produce proletarians, who lack it. | |
| From: G.A. Cohen (Are Freedom and Equality Compatible? [1986], 3) | |
| A reaction: The implication is that autonomy is not a property of individuals but a social phenomenon. Self-owning people can still be imprisoned. What about autonomy without self-ownership? A bright slave who is given extensive responsibility? |
| 21736 | It is doubtful whether any private property was originally acquired legitimately [Cohen,GA] |
| Full Idea: It is easy to doubt that much actually existing private property was formed in what anyone could think was a legitimating way. | |
| From: G.A. Cohen (Are Freedom and Equality Compatible? [1986], 2) | |
| A reaction: What if I created an artificial island out of unwanted raw materials? What about the first humans to reach some remote territory? |
| 21734 | It is plausible that no one has an initial right to own land and natural resources [Cohen,GA] |
| Full Idea: One may plausibly say of external things in their initial state, of raw land and natural resources, that no person has a greater right to them than any other does. | |
| From: G.A. Cohen (Are Freedom and Equality Compatible? [1986], 1) | |
| A reaction: How about if your group has lived on that plot for fifty generations, and some interlopers arrive and claim part of it. No one thought of 'owning' it till the interlopers arrived. Native Americans and Australians. |
| 21735 | Every thing which is now private started out as unowned [Cohen,GA] |
| Full Idea: In the prehistory of anything that is now private property there was at least one moment at which something privately unowned was taken into private ownership. | |
| From: G.A. Cohen (Are Freedom and Equality Compatible? [1986], 2) | |
| A reaction: He is obviously talking about land and natural resources. Presumably a table which I made and own was always private property, although the land where the trees were grown was not. Though in some communities what I make could be automatically communal. |