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) |
| 3539 | Personal identity is just causally related mental states [Parfit, by Maslin] |
| Full Idea: For Parfit all personal identity really amounts to is a chain of experiences and other psychological features causally related to each other in 'direct' sorts of ways. | |
| From: report of Derek Parfit (Personal Identity [1971]) by Keith T. Maslin - Introduction to the Philosophy of Mind 10.5 | |
| A reaction: When summarised like this, it strikes me that Parfit is just false to our experience, whatever Hume may say. I suspect that Parfit (and those like him) concentrate too much on rather passive perceptual experience, and neglect the will. |
| 1393 | One of my future selves will not necessarily be me [Parfit] |
| Full Idea: If I say 'It will not be me, but one of my future selves', I do not imply that I will be that future self. He is one of my later selves, and I am one of his earlier selves. There is no underlying person we both are. | |
| From: Derek Parfit (Personal Identity [1971], §5) | |
| A reaction: The problem here seems to be explaining why I should care about my later self, if it isn't me. If the answer is only that it will be psychologically very similar to me, then I would care more about my current identical twin than about my future self. |
| 1392 | If we split like amoeba, we would be two people, neither of them being us [Parfit] |
| Full Idea: In the case of the man who, like an amoeba, divides….we can suggest that he survives as two different people without implying that he is those people. | |
| From: Derek Parfit (Personal Identity [1971], §1) | |
| A reaction: Maybe an amoeba is a homogeneous substance for which splitting is insignificant, but when a person has certain parts that are totally crucial, splitting them is catastrophic, and quite different. I'm not sure that splitting a self would leave persons. |
| 1391 | Concern for our own lives isn't the source of belief in identity, it is the result of it [Parfit] |
| Full Idea: Egoism, and the fear not of near but of distant death, and the regret that so much of one's life should have gone by - these are not, I think, wholly natural or instinctive. They are strengthened by a false belief in stable identity. | |
| From: Derek Parfit (Personal Identity [1971], §6) | |
| A reaction: This raises some very nice questions, about the extent to which various aspects of self-concern are instinctive and natural, or culturally induced, and even totally misguided and false. I can worry about the distant death of my guinea pig, or my grandson. |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |