46 ideas
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 4938 | Prior to language, concepts are universals created by self-mapping of brain activity [Edelman/Tononi] |
| Full Idea: Before language is present, concepts depend on the brain's ability to construct 'universals' through higher-order mapping of the activity of the brain's own perceptual and motor maps. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.15) | |
| A reaction: It should be of great interest to philosophers that one can begin to give a neuro-physiological account of universals. A physical system can be ordered as a database, and universals are the higher branches of a tree-structure of information. |
| 4934 | Cultures have a common core of colour naming, based on three axes of colour pairs [Edelman/Tononi] |
| Full Idea: We seem to have a set of colour axes (red-green, blue-yellow, and light-dark). Color naming in different cultures tend to have universal categories based on these axes, with a few derived or composite categories (e.g. orange, purple, pink, brown, grey). | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.13) | |
| A reaction: This confirms my view of all supposed relativism: that there are degrees of cultural and individual relativism possible, but it is daft to think this goes all the way down, as nature has 'joints', and our minds are part of nature. |
| 4924 | A conscious human being rapidly reunifies its mind after any damage to the brain [Edelman/Tononi] |
| Full Idea: It seems that after a massive stroke or surgical resection, a conscious human being is rapidly "resynthesised" or reunified within the limits of a solipsistic universe that, to outside appearances, is warped and restricted. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch. 3) | |
| A reaction: Note that there are two types of 'unity of mind'. This comment refers to the unity of seeing oneself as a single person, rather than the smooth unbroken quality of conscious experience. I presume that there is no point in a mind without the first unity. |
| 4932 | A conscious state endures for about 100 milliseconds, known as the 'specious present' [Edelman/Tononi] |
| Full Idea: The 'specious present' (William James), a rough estimate of the duration of a single conscious state, is of the order of 100 milliseconds, meaning that conscious states can change very rapidly. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.12) | |
| A reaction: A vital feature of our subjective experience of time. I wonder what the figure is for a fly? It suggests that conscious experience really is like a movie film, composed of tiny independent 'frames' of very short duration. |
| 4931 | Consciousness is a process (of neural interactions), not a location, thing, property, connectivity, or activity [Edelman/Tononi] |
| Full Idea: Consciousness is neither a thing, nor a simple property. ..The conscious 'dynamic core' of the brain is a process, not a thing or a place, and is defined in terms of neural interactions, not in terms of neural locations, connectivity or activity. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.12) | |
| A reaction: This must be of great interest to philosophers. Edelman is adamant that it is not any specific neurons. The nice question is: what would it be like to have your brain slowed down? Presumably we would experience steps in the process. Is he a functionalist? |
| 4923 | The three essentials of conscious experience are privateness, unity and informativeness [Edelman/Tononi] |
| Full Idea: The fundamental aspects of conscious experience that are common to all its phenomenological manifestations are: privateness, unity, and informativeness. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch. 3) | |
| A reaction: Interesting, coming from neuroscientists. The list strikes me as rather passive. It is no use having good radar if you can't make decisions. Privacy and unity are overrated. Who gets 'informed'? Personal identity must be basic. |
| 4941 | Consciousness can create new axioms, but computers can't do that [Edelman/Tononi] |
| Full Idea: Conscious human thought can create new axioms, which a computer cannot do. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.17) | |
| A reaction: A nice challenge for the artificial intelligence community! I don't understand their confidence in making this assertion. Nothing in Gödel's Theorem seems to prevent the reassignment of axioms, and Quine implies that it is an easy and trivial game. |
| 4930 | Consciousness arises from high speed interactions between clusters of neurons [Edelman/Tononi] |
| Full Idea: Our hypothesis is that the activity of a group of neurons can contribute directly to conscious experience if it is part of a functional cluster, characterized by strong interactions among a set of neuronal groups over a period of hundreds of milliseconds. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.12) | |
| A reaction: This is their 'dynamic core' hypothesis. It doesn't get at the Hard Questions about consciousness, but this is a Nobel prize winner hot on the trail of the location of the action. It gives support to functionalism, because the neurons vary. |
| 4929 | Dreams and imagery show the brain can generate awareness and meaning without input [Edelman/Tononi] |
| Full Idea: Dreaming and imagery are striking phenomenological demonstrations that the adult brain can spontaneously and intrinsically produce consciousness and meaning without any direct input from the periphery. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.11) | |
| A reaction: This offers some support for Searle's claim that brain's produce 'intrinsic' (rather than 'derived') intentionality. Of course, one can have a Humean impressions/ideas theory about how the raw material got there. We SEE meaning in our experiences. |
| 4940 | Physicists see information as a measure of order, but for biologists it is symbolic exchange between animals [Edelman/Tononi] |
| Full Idea: Physicists may define information as a measure of order in a far-from-equilibrium state, but it is best seen as a biological concept which emerged in evolution with animals that were capable of mutual symbolic exchange. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.17) | |
| A reaction: The physicists' definition seems to open the road to the possibility of non-conscious intentionality (Dennett), where the biological view seems to require consciousness of symbolic meanings (Searle). Tree-rings contain potential information? |
| 4935 | The sensation of red is a point in neural space created by dimensions of neuronal activity [Edelman/Tononi] |
| Full Idea: The pure sensation of red is a particular neural state identified by a point within the N-dimensional neural space defined by the integrated activity of all the group of neurons that constitute the dynamic core. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.13) | |
| A reaction: This hardly answers the Hard Question (why experience it? why that experience?), but it is interesting to see a neuroscientist fishing for an account of qualia. He says three types of neuron firing generate the dimensions of the 'space'. |
| 4936 | The self is founded on bodily awareness centred in the brain stem [Edelman/Tononi] |
| Full Idea: Structures in the brain stem map the state of the body and its relation to the environment, on the basis of signals with proprioceptive, kinesthetic, somatosensory and autonomic components. We may call these the dimensions of the proto-self. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.13) | |
| A reaction: It seems to me that there is no free will, but moral responsibility depends on the existence of a Self, and philosophers had better fight for it (are you listening, Hume?). Fortunately neuroscientists seem to endorse it fairly unanimously. |
| 4939 | A sense of self begins either internally, or externally through language and society [Edelman/Tononi] |
| Full Idea: Two extreme views on the development of the self are 'internalist' and 'externalist'. The first starts with a baby's subjective experience, and increasing differentiation as self-consciousness develops. The externalist view requires language and society. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.15) | |
| A reaction: Edelman rightly warns against this simple dichotomy, but if I have to vote, it is for internalism. I take a sense of self as basic to any mind, even a slug's. What is a mind for, if not to look after the creature? Self makes sensation into mind. |
| 4925 | Brains can initiate free actions before the person is aware of their own decision [Edelman/Tononi] |
| Full Idea: Libet concluded that the cerebral initiation of a spontaneous, freely voluntary act can begin unconsciously, that is, before there is any recallable awareness that a decision to act has already been initiated cerebrally. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch. 6) | |
| A reaction: We should accept this result. 'Free will' was always a bogus metaphysical concept (invented, I think, because God had to be above natural laws). A person is the source of responsibility, and is the controller of the brain, but not entirely conscious. |
| 4933 | Consciousness is a process, not a thing, as it maintains unity as its composition changes [Edelman/Tononi] |
| Full Idea: The conscious 'dynamic core' of the brain can maintain its unity over time even if its composition may be constantly changing, which is the signature of a process as opposed to a thing. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.12) | |
| A reaction: This is the functionalists' claim that the mind is 'multiply realisable', since different neurons can maintain the same process. 'Process' strikes me as a much better word than 'function'. These theories capture passive mental life better than active. |
| 4928 | Brain complexity balances segregation and integration, like a good team of specialists [Edelman/Tononi] |
| Full Idea: A theoretical analysis of complexity suggests that neuronal complexity strikes an optimum balance between segregation and integration, which fits the view of the brain as a collection of specialists who talk to each other a lot. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.11) | |
| A reaction: This is a theoretical point, but comes from a leading neuroscientist, and seems to endorse Fodor's modularity proposal. For a philosopher, one of the issues here is how to reconcile the segregation with the Cartesian unity and personal identity of a mind. |
| 4927 | Information-processing views of the brain assume the existence of 'information', and dubious brain codes [Edelman/Tononi] |
| Full Idea: So-called information-processing views of the brain have been criticized because they typically assume the existence in the world of previously defined information, and often assume the existence of precise neural codes for which there is no evidence. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.11) | |
| A reaction: Fodor is the target here. Searle is keen that 'intrinsic intentionality' is required to see something as 'information'. It is hard to see how anything acquires significance as it flows through a mechanical process. |
| 4922 | Consciousness involves interaction with persons and the world, as well as brain functions [Edelman/Tononi] |
| Full Idea: We emphatically do not identify consciousness in its full range as arising solely in the brain, since we believe that higher brain functions require interactions both with the world and with other persons. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Pref) | |
| A reaction: Would you gradually lose higher brain functions if you lived entirely alone? Intriguingly, this sounds like a neuroscientist asserting the necessity for broad content in order to understand the brain. |
| 5793 | Concepts and generalisations result from brain 'global mapping' by 'reentry' [Edelman/Tononi, by Searle] |
| Full Idea: When you get maps all over the brain signalling to each other by reentry you have what Edelman calls 'global mapping', and this allows the system not only to have perceptual categories and generalisation, but also to coordinate perception and action. | |
| From: report of G Edelman / G Tononi (Consciousness: matter becomes imagination [2000]) by John Searle - The Mystery of Consciousness Ch.3 | |
| A reaction: This is the nearest we have got to a proper scientific account of thought (as opposed to untested speculation about Turing machines). Something like this account must be right. A concept is a sustained process, not a static item. |
| 4926 | Concepts arise when the brain maps its own activities [Edelman/Tononi] |
| Full Idea: We propose that concepts arise from the mapping by the brain itself of the activity of the brain's own areas and regions. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch. 9) | |
| A reaction: Yes. One should add that the brain appears to be physically constructed with the logic of a filing system, which would mean that our concepts were labels for files within the system. Nature generates some of the files, and thinking creates the others. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 4937 | Systems that generate a sense of value are basic to the primitive brain [Edelman/Tononi] |
| Full Idea: Early and central in the development of the brain are the dimensions provided by value systems indicating salience for the entire organism. | |
| From: G Edelman / G Tononi (Consciousness: matter becomes imagination [2000], Ch.13) | |
| A reaction: This doesn't quite meet Hume's challenge to find values in the whole of nature, but it matches Charles Taylor's claim that for humans values are knowable a priori. Conditional values can be facts of the whole of nature. "If there is life, x has value..". |
| 6005 | Animals are dangerous and nourishing, and can't form contracts of justice [Hermarchus, by Sedley] |
| Full Idea: Hermarchus said that animal killing is justified by considerations of human safety and nourishment and by animals' inability to form contractual relations of justice with us. | |
| From: report of Hermarchus (fragments/reports [c.270 BCE]) by David A. Sedley - Hermarchus | |
| A reaction: Could the last argument be used to justify torturing animals? Or could we eat a human who was too brain-damaged to form contracts? |