17 ideas
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 8368 | A correct definition is what can be substituted without loss of meaning [Ducasse] |
| Full Idea: A definition of a word is correct if the definition can be substituted for the word being defined in an assertion without in the least changing the meaning which the assertion is felt to have. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], §1) | |
| A reaction: This sounds good, but a very bland and uninformative rephrasing would fit this account, without offering anything very helpful. The word 'this' could be substituted for a lot of object words. A 'blade' is 'a thing always attached to a knife handle'. |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |
| 8367 | Causation is defined in terms of a single sequence, and constant conjunction is no part of it [Ducasse] |
| Full Idea: The correct definition of the causal relation is to be framed in terms of one single case of sequence, and constancy of conjunction is therefore no part of it. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], Intro) | |
| A reaction: This is the thesis of Ducasse's paper. I immediately warm to it. I take constant conjunction to be a consequence and symptom of causation, not its nature. There is a classic ontology/epistemology confusion to be avoided here. |
| 8372 | We see what is in common between causes to assign names to them, not to perceive them [Ducasse] |
| Full Idea: The part of a generalization concerning what is common to one individual concrete event and the causes of certain other events of the same kind is involved in the mere assigning of a name to the cause and its effect, but not in the perceiving them. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], §5) | |
| A reaction: A nice point, that we should keep distinct the recognition of a cause, and the assigning of a general name to it. Ducasse is claiming that we can directly perceive singular causation. |
| 8369 | Causes are either sufficient, or necessary, or necessitated, or contingent upon [Ducasse] |
| Full Idea: There are four causal connections: an event is sufficient for another if it is its cause; an event is necessary for another if it is a condition for it; it is necessitated by another if it is an effect; it is contingent upon another if it is a resultant. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], §2) | |
| A reaction: An event could be a condition for another without being necessary. He seems to have missed the indispensable aspect of a necessary condition. |
| 8373 | When a brick and a canary-song hit a window, we ignore the canary if we are interested in the breakage [Ducasse] |
| Full Idea: If a brick and the song of a canary strike a window, which breaks....we can truly say that the song of the canary had nothing to do with it, that is, in so far as what occurred is viewed merely as a case of breakage of window. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], §5) | |
| A reaction: This is the germ of Davidson's view, that causation is entirely dependent on the mode of description, rather than being an actual feature of reality. If one was interested in the sound of the breakage, the canary would become relevant. |
| 8370 | A cause is a change which occurs close to the effect and just before it [Ducasse] |
| Full Idea: The cause of the particular change K was such particular change C as alone occurred in the immediate environment of K immediately before. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], §3) | |
| A reaction: The obvious immediately difficulty would be overdetermination, as when it rains while I am watering my garden. The other problem would coincidence, as when I clap my hands just before a bomb goes off. |
| 8371 | Recurrence is only relevant to the meaning of law, not to the meaning of cause [Ducasse] |
| Full Idea: The supposition of recurrence is wholly irrelevant to the meaning of cause: that supposition is relevant only to the meaning of law. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], §4) | |
| A reaction: This sounds plausible, especially if our notion of laws of nature is built up from a series of caused events. But we could just have an ontology of 'similar events', out of which we build laws, and 'causation' could drop out (á la Russell). |
| 8374 | We are interested in generalising about causes and effects purely for practical purposes [Ducasse] |
| Full Idea: We are interested in causes and effects primarily for practical purposes, which needs generalizations; so the interest of concrete individual facts of causation is chiefly an indirect one, as raw material for generalizations. | |
| From: Curt Ducasse (Nature and Observability of Causal Relations [1926], §6) | |
| A reaction: A nice explanation of why, if causation is fundamentally about single instances, people seem so interested in generalisations and laws. We want to predict, and we want to explain, and we want to intervene. |
| 3029 | Stilpo said if Athena is a daughter of Zeus, then a statue is only the child of a sculptor, and so is not a god [Stilpo, by Diog. Laertius] |
| Full Idea: Stilpo asked a man whether Athena is the daughter of Zeus, and when he said yes, said,"But this statue of Athena by Phidias is the child of Phidias, so it is not a god." | |
| From: report of Stilpo (fragments/reports [c.330 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.10.5 |