7 ideas
| 22668 | Apprehension is a complex intellect grasping the essence of a complex object [Holt,L] |
| Full Idea: The paradigm case of apprehension is of a complex intellect confronted with a complex object, in which the intellect understands in a particular context what is 'essential' about the object. | |
| From: Lynn Holt (Apprehension: reason in absence of Rules [2002], 3 'Expertise') | |
| A reaction: My line is that this apprehension cashes out as an immediate ability to explain the object. This is an enhanced version of the rational understanding of things found in most larger animals. Holt says her account is Aristotelian. |
| 13165 | Geometrical proofs do not show causes, as when we prove a triangle contains two right angles [Proclus] |
| Full Idea: Geometry does not ask 'why?' ..When from the exterior angle equalling two opposite interior angles it is shown that the interior angles make two right angles, this is not a causal demonstration. With no exterior angle they still equal two right angles. | |
| From: Proclus (Commentary on Euclid's 'Elements' [c.452], p.161-2), quoted by Paolo Mancosu - Explanation in Mathematics §5 | |
| A reaction: A very nice example. It is hard to imagine how one might demonstrate the cause of the angles making two right angles. If you walk, turn left x°, then turn left y°, then turn left z°, and x+y+z=180°, you end up going in the original direction. |
| 9569 | The origin of geometry started in sensation, then moved to calculation, and then to reason [Proclus] |
| Full Idea: It is unsurprising that geometry was discovered in the necessity of Nile land measurement, since everything in the world of generation goes from imperfection to perfection. They would naturally pass from sense-perception to calculation, and so to reason. | |
| From: Proclus (Commentary on Euclid's 'Elements' [c.452]), quoted by Charles Chihara - A Structural Account of Mathematics 9.12 n55 | |
| A reaction: The last sentence is the core of my view on abstraction, that it proceeds by moving through levels of abstraction, approaching more and more general truths. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |