10 ideas
| 21959 | Metaphysics is the most general attempt to make sense of things [Moore,AW] |
| Full Idea: Metaphysics is the most general attempt to make sense of things. | |
| From: A.W. Moore (The Evolution of Modern Metaphysics [2012], Intro) | |
| A reaction: This is the first sentence of Moore's book, and a touchstone idea all the way through. It stands up well, because it says enough without committing to too much. I have to agree with it. It implies explanation as the key. I like generality too. |
| 21958 | Appearances are nothing beyond representations, which is transcendental ideality [Moore,AW] |
| Full Idea: Appearances in general are nothing outside our representations, which is just what we mean by transcendental ideality. | |
| From: A.W. Moore (The Evolution of Modern Metaphysics [2012], B535/A507) |
| 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. |
| 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. |
| 17402 | Mendeleev saw three principles in nature: matter, force and spirit (where the latter seems to be essence) [Mendeleev, by Scerri] |
| Full Idea: Mendeleev rejected one unifying principles in favour of three basic components of nature: matter (substance), force (energy), and spirit (soul). 'Spirit' is said to be what we now mean by essentialism - what is irreducibly peculiar to the object. | |
| From: report of Dmitri Mendeleev (The Principles of Chemistry [1870]) by Eric R. Scerri - The Periodic Table 04 'Making' |
| 17399 | Elements don't survive in compounds, but the 'substance' of the element does [Mendeleev] |
| Full Idea: Neither mercury as a metal nor oxygen as a gas is contained in mercury oxide; it only contains the substance of the elements, just as steam only contains the substance of ice. | |
| From: Dmitri Mendeleev (The Principles of Chemistry [1870], I:23), quoted by Eric R. Scerri - The Periodic Table 04 'Nature' | |
| A reaction: [1889 edn] Scerri glosses the word 'substance' as meaning essence. |
| 17400 | Mendeleev focused on abstract elements, not simple substances, so he got to their essence [Mendeleev, by Scerri] |
| Full Idea: Because he was attempting to classify abstract elements, not simple substances, Mendeleev was not misled by nonessential chemical properties. | |
| From: report of Dmitri Mendeleev (The Principles of Chemistry [1870]) by Eric R. Scerri - The Periodic Table 04 'Making' | |
| A reaction: I'm not fully clear about this, but I take it that Mendeleev stood back from the messy observations, and tried to see the underlying simpler principles. 'Simple substances' were ones that had not so far been decomposed. |
| 17401 | Mendeleev had a view of elements which allowed him to overlook some conflicting observations [Mendeleev] |
| Full Idea: His view of elements allowed Mendeleev to maintain the validity of the periodic table even in instances where observational evidence seemed to point against it. | |
| From: Dmitri Mendeleev (The Principles of Chemistry [1870]), quoted by Eric R. Scerri - The Periodic Table 04 'Making' | |
| A reaction: Mendeleev seems to have focused on abstract essences of elements, rather than on the simplest substances they had so far managed to isolate. |