23 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. |
| 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. |
| 20420 | The emotion expressed is non-conscious, but feels oppressive until expression relieves it [Collingwood] |
| Full Idea: The emotion expressed is one of whose nature the person feeling it is no longer conscious. As unexpressed, he feels it in a helpless and oppressed way; as expressed, the oppression has vanished. His mind is somehow lightened and eased. | |
| From: R.G. Collingwood (The Principles of Art [1938], p.110), quoted by Gary Kemp - Croce and Collingwood 1 | |
| A reaction: It sounds like the regular smoking of cigarettes. This is Collingwood answer the doubts I felt about Idea 20419. I would have thought the desire of Picasso was to create another painting, but not to express yet another new oppressive feeling. |
| 20421 | Art exists ideally, purely as experiences in the mind of the perceiver [Collingwood, by Kemp] |
| Full Idea: For Collingwood (and Croce) the work of art is an ideal object; …they are things that exist only in the mind, that is, only when one perceives. …The physical work exists to make this experience available. | |
| From: report of R.G. Collingwood (The Principles of Art [1938]) by Gary Kemp - Croce and Collingwood 2 | |
| A reaction: This means that the paintings in a gallery cease to be works of art when the gallery is shut, which sounds odd. I suppose 'work of art' is ambiguous, between the experience (right) and the facilitator of the experience (wrong). |
| 20406 | Art clarifies the artist's mind and feelings, thus leading to self-knowledge [Collingwood, by Davies,S] |
| Full Idea: Collingwood suggests art should be thought of not as product or artifact but as an act or process of expression through which the artist clarifies her initially vague emotions and states of mind. As such, it is a source of self-knowledge. | |
| From: report of R.G. Collingwood (The Principles of Art [1938], Ch.6) by Stephen Davies - The Philosophy of Art (2nd ed) 8.4 | |
| A reaction: I might believe this of writing novels, but not much else. |
| 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] |
| 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. |
| 5901 | Is 'productive of happiness' the definition of 'right', or the cause of it? [Ross on Bentham] |
| Full Idea: Bentham has not made up his mind whether he thinks that 'right' means 'productive of the general happiness', or that being productive of the general happiness is what makes acts right (and he would have thought the difference unimportant). | |
| From: comment on Jeremy Bentham (Intro to Principles of Morals and Legislation [1789]) by W. David Ross - The Right and the Good §I | |
| A reaction: The issue is whether rightness exists as a concept separate from happiness. I take it Bentham would vote for the first reading, as he has no interest in what is right, apart from increasing happiness. |
| 5934 | Of Bentham's 'dimensions' of pleasure, only intensity and duration matter [Ross on Bentham] |
| Full Idea: Most of Bentham's 'dimensions' of pleasure refer to further pleasures, or are irrelevant to the pleasure; we are left with intensity and duration as the characteristics on which depend the value of a pleasure qua pleasure, and there is nothing to add. | |
| From: comment on Jeremy Bentham (Intro to Principles of Morals and Legislation [1789]) by W. David Ross - The Right and the Good §VI | |
| A reaction: I agree. When Bentham produces his list he seems to be trying to add a bogus enrichment to what is really a rather crude and basic notion of the aim of life. Your simple hedonist appears to only desire high intensity and long duration. |
| 5271 | Prejudice apart, push-pin has equal value with music and poetry [Bentham] |
| Full Idea: Prejudice apart, the game of push-pin is of equal value with the arts and science of music and poetry. | |
| From: Jeremy Bentham (Constitutional Code I [1827], p.139), quoted by J.R. Dinwiddy - Bentham p.114 | |
| A reaction: Mill quoted this with implied outrage, but Bentham was attacking public subsidies to the arts when he said it. It is a basic idea in the debate on pleasure - that pleasures are only distinguished by their intensity, not some other value. |
| 3777 | Pleasure and pain control all human desires and duties [Bentham] |
| Full Idea: Nature has placed mankind under the governance of two sovereign masters, pain and pleasure. It is for them alone to point out what we ought to do, as well as to determine what we shall do. | |
| From: Jeremy Bentham (Intro to Principles of Morals and Legislation [1789], I.1) | |
| A reaction: Ridiculous. Both halves are false. We pursue things for other reasons, and to deny this makes his idea a tautology. Deep ecology has nothing to do with human pleasure or pain. |
| 3554 | Bentham thinks happiness is feeling good, but why use morality to achieve that? [Annas on Bentham] |
| Full Idea: It is easy to fall into Bentham's mindless assumption that happiness must be a specific state of feeling good about something, but it is mysterious why anyone would think morality a good strategy for achieving this. | |
| From: comment on Jeremy Bentham (Intro to Principles of Morals and Legislation [1789]) by Julia Annas - The Morality of Happiness 2.7 |
| 3781 | The value of pleasures and pains is their force [Bentham] |
| Full Idea: It behoves the legislator to understand the force of pleasures and pains, which is their value. | |
| From: Jeremy Bentham (Intro to Principles of Morals and Legislation [1789], IV.1) |
| 20977 | Natural rights are nonsense, and unspecified natural rights is nonsense on stilts [Bentham] |
| Full Idea: Natural rights is simple nonsense: natural and imprescriptible rights, rhetorical nonsense — nonsense upon stilts. | |
| From: Jeremy Bentham (Anarchical Fallacies: on the Declaration of Rights [1796]) | |
| A reaction: If you want your opinion to be remembered, express it memorably! I take natural rights to be the basic principles and values which are obvious to almost everyone when they come for formulate legal rights (which are the only true rights). |
| 3778 | The community's interest is a sum of individual interests [Bentham] |
| Full Idea: The interest of the community is the sum of the interests of the several members who compose it. | |
| From: Jeremy Bentham (Intro to Principles of Morals and Legislation [1789], I.4) |
| 21003 | Only laws can produce real rights; rights from 'law of nature' are imaginary [Bentham] |
| Full Idea: Right, the substantive right, is the child of law; from real laws come real rights; but from imaginary laws, from 'law of nature' can come only imaginary rights. | |
| From: Jeremy Bentham (Anarchical Fallacies: on the Declaration of Rights [1796], II.523), quoted by Amartya Sen - The Idea of Justice 17 'Ethics' | |
| A reaction: I am coming to agree with this. What are called 'natural rights' are just self-evident good reasons why someone should be allowed a right. A right can, of course, come from an informal agreement. The question is: why award that particular legal right? |
| 20280 | Large mature animals are more rational than babies. But all that really matters is - can they suffer? [Bentham] |
| Full Idea: A full-grown horse or dog is beyond comparison a more rational animal than an infant of a day, or even a month, old. But suppose they be otherwise, what would it avail? The question is not, Can they reason? nor Can they talk? but, Can they suffer? | |
| From: Jeremy Bentham (Intro to Principles of Morals and Legislation [1789], XVIII 1 n), quoted by Peter Singer - Practical Ethics 03 | |
| A reaction: This is certainly an inspiring, and even shocking question, which never seems to have been so directly asked before in the entire history of European thought. Awesome. |
| 3779 | Unnatural, when it means anything, means infrequent [Bentham] |
| Full Idea: Unnatural, when it means anything, means unfrequent. | |
| From: Jeremy Bentham (Intro to Principles of Morals and Legislation [1789], II.14 n8.9) |
| 3780 | We must judge a thing morally to know if it conforms to God's will [Bentham] |
| Full Idea: It is necessary to know first whether a thing is right in order to know from thence whether it be conformable to the will of God. | |
| From: Jeremy Bentham (Intro to Principles of Morals and Legislation [1789], II.18) |