34 ideas
| 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. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 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) |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |