7 ideas
| 19695 | The devil was wise as an angel, and lost no knowledge when he rebelled [Whitcomb] |
| Full Idea: The devil is evil but nonetheless wise; he was a wise angel, and through no loss of knowledge, but, rather, through some sort of affective restructuring tried and failed to take over the throne. | |
| From: Dennis Whitcomb (Wisdom [2011], 'Argument') | |
| A reaction: ['affective restructuring' indeed! philosophers- don't you love 'em?] To fail at something you try to do suggests a flaw in the wisdom. And the new regime the devil wished to introduce doesn't look like a wise regime. Not convinced. |
| 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. |
| 20422 | The experience of expression and communication are intermingled in art [Croce] |
| Full Idea: It is very difficult to perceive the frontier between expression and communication in actual fact, for the two processes usually alternate rapidly and are almost intermingled. | |
| From: Benedetto Croce (The Essence of Aesthetic [1912]), quoted by Gary Kemp - Croce and Collingwood | |
| A reaction: [text unsure] I think he is getting at seeing the painting (or whatever) as a physical object, and seeing it as the experience which results from the object. The alternation of the objective and subjective views. Reminds me of Thomas Nagel. |
| 7270 | Historical interpretation aims to recapture the author's view of the work [Croce] |
| Full Idea: Historical interpretation enables us to see a work of art as its author saw it in the moment of production. | |
| From: Benedetto Croce (Aesthetic as Science of Expression [1902], §II), quoted by W Wimsatt/W Beardsley - The Intentional Fallacy §II | |
| A reaction: Wimsatt and Beardsley quote this as the romantic antithesis of their own view, but there is a blurring between understanding a work and judging. Personally I consider intentions essential for understanding, and valuable for judgement. |