9 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. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 5064 | Rights are moral significance, or liberty, or right not to be restrained, or entitlement [Mawson] |
| Full Idea: A 'right' can mean 'x counts morally', or 'x is permitted to do this' (liberty), or 'x can't be stopped from doing this' (negative right), or 'someone should provide this for x'. | |
| From: Tim Mawson (Animal Rights talk [2003]), quoted by PG - lecture notes | |
| A reaction: A useful analysis. It is a useful preliminary to considering whether any of these are natural rights. Personally I am sympathetic to that concept. You cannot deny a person's right to self-defence, even when you are sitting on them. Persons have rights. |