37 ideas
| 23728 | Analysis aims to express the full set of platitudes surrounding a given concept [Smith,M] |
| Full Idea: The aim of analysis is to give us knowledge of all and only the platitudes surrounding our use of the concept that is up for analysis. | |
| From: Michael Smith (The Moral Problem [1994], 1.10) | |
| A reaction: His earlier specimen concept is 'redness'. For other concepts there might be considerable disagreement about which propositions are or are not the relevant platitudes. Smith emphasises that analysis need not be reductive. |
| 23744 | Defining a set of things by paradigms doesn't pin them down enough [Smith,M] |
| Full Idea: The discussion of colour concepts shows that permutation problems arise when a set of concepts, acquired inter alia via the presentation of paradigms, is largely interdefined. | |
| From: Michael Smith (The Moral Problem [1994], 5.9) | |
| A reaction: Smith says that our normative moral concepts are largely interdefined in this way. The 'permutation' problem is that they can change places in the definition set, and so their intrinsic individual character is not pinned down. Sounds right. |
| 16051 | Life has a new supervenient relation, which alters its underlying physical events [Morgan,L] |
| Full Idea: When some new kind of relatedness is supervenient (say at the level of life), the way in which the physical events which are involved run their course is different in virtue of its presence. | |
| From: Lloyd Morgan (Emergent Evolution [1923], pp.15-16), quoted by Terence Horgan - From Supervenience to Superdupervenience 1 | |
| A reaction: This is a clear assertion of 'downward causation' at the first introduction of 'supervenience', supporting 'emergentism' about life and mind. That is, the newly-emerged feature has new causal powers that affect the physical system from outside. Wrong! |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 23743 | Capturing all the common sense facts about rationality is almost impossible [Smith,M] |
| Full Idea: It would be a superhuman task just to write down an explicit, non-summary style, statement of the platitudes that capture our idea of what it is to be fully rational. | |
| From: Michael Smith (The Moral Problem [1994], 5.9) | |
| A reaction: Well said. Philosophers are inclined to make simplistic binary judgements about whether persons or animals are rational. A visit to YouTube will show fish acting extremely rationally. |
| 23739 | Goals need desires, and so only desires can motivate us [Smith,M] |
| Full Idea: Only an agent's desires may constitute her having certain goals, and it follows from this that only her desires may constitute her motivating reasons. | |
| From: Michael Smith (The Moral Problem [1994], 4.8) | |
| A reaction: We might distinguish between reasons which direct us towards certain ends, and reasons which motivate us to pursue those ends. Most mornings I have a reason to get out of bed, which precedes my motivation to actually do it. |
| 23724 | A pure desire could be criticised if it were based on a false belief [Smith,M] |
| Full Idea: There is a minor proviso to Hume's view, which is that desires are subject to rational criticism, but only insofar as they are based on beliefs that are subject to rational criticism. | |
| From: Michael Smith (The Moral Problem [1994], 1.3) | |
| A reaction: He says this is not a refutation of the basic Humean claim. He has in mind a desire such as to consume cyanide because you believe it will be good for you. |
| 23736 | A person can have a desire without feeling it [Smith,M] |
| Full Idea: We should concede that a desire may be had in the absence of its being felt. | |
| From: Michael Smith (The Moral Problem [1994], 4.5) | |
| A reaction: A nice observation. An example he gives is a father's desire that his child does well. Smith is discussing Hume's account of motivation in terms of desires and beliefs. |
| 23723 | In the Humean account, desires are not true/false, or subject to any rational criticism [Smith,M] |
| Full Idea: According to the standard picture of human psychology that we get from Hume, not only are desires not assessable in terms of truth and falsehood, they are not subject to any sort of rational criticism at all. | |
| From: Michael Smith (The Moral Problem [1994], 1.3) | |
| A reaction: This is where action theory meets metaethics. The separation of facts from values underlies this, because a desire is a fact, but the wickedness of a desire is not. Surely a desire could be a failure of practical reason? |
| 23735 | Subjects may be fallible about the desires which explain their actions [Smith,M] |
| Full Idea: It is an adequacy constraint on any conception of desire that the epistemology of desire it recommends allows that subjects may be fallible about the desires they have. | |
| From: Michael Smith (The Moral Problem [1994], 4.5) | |
| A reaction: [I do wish authors would write my short versions instead of their rambling sentences!] Even after the event we may be unsure why we did something. If someone observes self-interest when I thought my action was altruistic, I don't know how to respond. |
| 23738 | Humeans (unlike their opponents) say that desires and judgements can separate [Smith,M] |
| Full Idea: Humeans claim that agents who believe they should act may nevertheless lack the desire to do so, where anti-Humeans must say the two go together, and someone with the belief thereby has the desire. | |
| From: Michael Smith (The Moral Problem [1994], 4.7) | |
| A reaction: [very compressed] A very helpful distinction about the classic debates over the motivations of action. Smith defends the Humean view, and makes it very plausible. No mere sense of rightness or duty can compel us to act. |
| 23742 | If first- and second-order desires conflict, harmony does not require the second-order to win [Smith,M] |
| Full Idea: Even if we assume that reason prefers harmony between first- and second-order desires, there is no reason to assume that reason is on the side of achieving that harmony by changing first-order desires to suit second-order, rather than vice versa. | |
| From: Michael Smith (The Moral Problem [1994], 5.7) | |
| A reaction: [Smith is discussing David Lewis 1989 on second-order desires] Smith says that on the Humean view the rational winner should simply be the stronger of the two. Since this sounds like an endorsement for weakness of will, Smith relies on beliefs. |
| 23746 | Objective reasons to act might be the systematic desires of a fully rational person [Smith,M] |
| Full Idea: One way to decide what we have normative reasons to do …is by trying to find a set of desires that is systematically justifiable, which is our best assessment of the desires we would have under conditions of full rationality. | |
| From: Michael Smith (The Moral Problem [1994], 5.9) | |
| A reaction: This is Smith accepting the Humean view that desires are essential for motivation, but trying to find a marriage of desires with reason to produce the more objective aspects of morality. An interesting aspiration… |
| 23733 | Motivating reasons are psychological, while normative reasons are external [Smith,M] |
| Full Idea: There are motivating reasons for action, which are psychological states, and normative reasons, which are propositions of the general form 'a person's doing this is desirable or required'. | |
| From: Michael Smith (The Moral Problem [1994], 4.2) | |
| A reaction: Motivating reasons are locatable entities in minds, whereas normative reasons are either abstract, or perhaps motivating reasons expressed by other people. Smith says the two types are unconnected. |
| 23740 | Humeans take maximising desire satisfaction as the normative reasons for actions [Smith,M] |
| Full Idea: The distinctive Humean view of normative reasons for action is that the rational thing for an agent to do is simply to act so as to maximally satisfy her desires, whatever the content of those desires. | |
| From: Michael Smith (The Moral Problem [1994], 5.1) | |
| A reaction: Smith disagrees with this view (though he agrees with Hume about motivating reasons). An obvious problem for the Humean view would be a strong desire to do something excessively dangerous. |
| 23745 | We cannot expect even fully rational people to converge on having the same desires for action [Smith,M] |
| Full Idea: We cannot expect that, even under conditions of full rationality, agents would all converge on the same desires about what is to be done in the various circumstances they might face. | |
| From: Michael Smith (The Moral Problem [1994], 5.9) | |
| A reaction: A very good argument in favour of the Humean view that desires are an essential part of moral motivation. Possible convergence of view is a standard hallmark of communal rationality. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 23731 | 'Externalists' say moral judgements are not reasons, and maybe not even motives [Smith,M] |
| Full Idea: The 'externalist' view of morality says either that judgements of rightness are motives but not reasons, or (more strongly) that they are neither, meaning that moral judgements do not have practical implications. | |
| From: Michael Smith (The Moral Problem [1994], 3.1) | |
| A reaction: [Philippa Foot's untypical 1972 article is cited for the strong view. Hare and Blackburn are typical of the first view]. I would say that such judgements are both reasons and motives - but not necessarily for me! 'Someone should do something about this!'. |
| 23732 | A person could make a moral judgement without being in any way motivated by it [Smith,M] |
| Full Idea: Amoralists make moral judgements without being motivated accordingly, and without suffering any sort of practical irrationality either; the practicality requirement of moral judgement is thus false. | |
| From: Michael Smith (The Moral Problem [1994], 3.3) | |
| A reaction: It is hard to imagine an immoralist with this nihilistic attitude bothering to make any moral judgements at all. Why would someone indifferent to art make aesthetic judgements? What could a 'judgement of rightness' mean to an amoralist? |
| 23729 | Moral internalism says a judgement of rightness is thereby motivating [Smith,M] |
| Full Idea: Moral 'internalism' says if an agent judges an action as right in some circumstance, then they are either thereby motivated to do it, or they are irrational (e.g. their will is weak). | |
| From: Michael Smith (The Moral Problem [1994], 3.1) | |
| A reaction: [Somewhat reworded] So the motivation comes from an internal judgement, not from external factors. Is it not tautological that 'this is the right thing to do' means it should be done (ceteris paribus)? |
| 23730 | 'Rationalism' says the rightness of an action is a reason to perform it [Smith,M] |
| Full Idea: Moral 'rationalism' says if an action is right for agents in some circumstances, then there is a reason for the agents to do it. | |
| From: Michael Smith (The Moral Problem [1994], 3.1) | |
| A reaction: That is, there is not merely a motivation to act (the 'internalist' view), but there is a reason to act. Smith calls both views the 'practicality requirement' of normal moral judgements. Smith defends the rationalist view. |
| 23727 | Expressivists count attitudes as 'moral' if they concern features of things, rather than their mere existence [Smith,M] |
| Full Idea: The pro- and con- attitudes of the expressivists count as 'moral' only if they are had towards particular people, actions or states of affairs in virtue of their natural features, ….rather than in virtue of being the particulars that they are. | |
| From: Michael Smith (The Moral Problem [1994], 2.4) | |
| A reaction: So whereas emotivists don't have to have any reasons for their moral feelings, other expressivists seem to require reasons (i.e. indicating features of things) to endorse their attitudes. What of reasonless emotionless attitudes? |
| 23741 | Is valuing something a matter of believing or a matter of desiring? [Smith,M] |
| Full Idea: What is it to value something? That is, equivalently, what is it to accept that we have a normative reason to do something? In Hume's terms, is it a matter of believing? Or is it a matter of desiring? We seem to face a dilemma. | |
| From: Michael Smith (The Moral Problem [1994], 5.4) | |
| A reaction: Smith is discussing moral motivation, and there is obviously more to valuing something than acting on it. Nice question, though. Personally I value St Paul's Cathedral, but I don't desire it. I value heart surgeons, but don't want to emulate them. |