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. |
| 15575 | Knowledge is not a static set of correct propositions, but a continuing search for better interpretations [Polt] |
| Full Idea: Thanks to Heidegger, hermeneutics has gained wider acceptance - that knowledge is not a static set of correct propositions, but a continuing search for better interpretations. | |
| From: Richard Polt (Heidegger: an introduction [1999], 3.§7) | |
| A reaction: I am not sure if I understand the notion of a search that has a refusal to actually find anything as one of its basic principles. |
| 16062 | A necessary relation between fact-levels seems to be a further irreducible fact [Lynch/Glasgow] |
| Full Idea: It seems unavoidable that the facts about logically necessary relations between levels of facts are themselves logically distinct further facts, irreducible to the microphysical facts. | |
| From: Lynch,MP/Glasgow,JM (The Impossibility of Superdupervenience [2003], C) | |
| A reaction: I'm beginning to think that rejecting every theory of reality that is proposed by carefully exposing some infinite regress hidden in it is a rather lazy way to do philosophy. Almost as bad as rejecting anything if it can't be defined. |
| 16061 | If some facts 'logically supervene' on some others, they just redescribe them, adding nothing [Lynch/Glasgow] |
| Full Idea: Logical supervenience, restricted to individuals, seems to imply strong reduction. It is said that where the B-facts logically supervene on the A-facts, the B-facts simply re-describe what the A-facts describe, and the B-facts come along 'for free'. | |
| From: Lynch,MP/Glasgow,JM (The Impossibility of Superdupervenience [2003], C) | |
| A reaction: This seems to be taking 'logically' to mean 'analytically'. Presumably an entailment is logically supervenient on its premisses, and may therefore be very revealing, even if some people think such things are analytic. |
| 16060 | Nonreductive materialism says upper 'levels' depend on lower, but don't 'reduce' [Lynch/Glasgow] |
| Full Idea: The root intuition behind nonreductive materialism is that reality is composed of ontologically distinct layers or levels. …The upper levels depend on the physical without reducing to it. | |
| From: Lynch,MP/Glasgow,JM (The Impossibility of Superdupervenience [2003], B) | |
| A reaction: A nice clear statement of a view which I take to be false. This relationship is the sort of thing that drives people fishing for an account of it to use the word 'supervenience', which just says two things seem to hang out together. Fluffy materialism. |
| 16064 | The hallmark of physicalism is that each causal power has a base causal power under it [Lynch/Glasgow] |
| Full Idea: Jessica Wilson (1999) says what makes physicalist accounts different from emergentism etc. is that each individual causal power associated with a supervenient property is numerically identical with a causal power associated with its base property. | |
| From: Lynch,MP/Glasgow,JM (The Impossibility of Superdupervenience [2003], n 11) | |
| A reaction: Hence the key thought in so-called (serious, rather than self-evident) 'emergentism' is so-called 'downward causation', which I take to be an idle daydream. |
| 15568 | When we consider possibilities, there must be something we are considering [Polt] |
| Full Idea: We would hardly want to say that a possibility is nothing, since surely we are considering something when we consider possibilities. | |
| From: Richard Polt (Heidegger: an introduction [1999], 1) | |
| A reaction: A nice contribution to the issue of whether modality is a feature of actuality. I would prefer to say that we can self-evidently utter truths and falsehoods about what is or is not possible, in nature, in logic, and maybe in metaphysics. |
| 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] |