33 ideas
| 8013 | In the Reformation, morality became unconditional but irrational, individually autonomous, and secular [MacIntyre] |
| Full Idea: Three concepts about morality emerge from the Reformation period: that moral rules are unconditional demands that lack rational justification; that moral agents are sovereign in choices; and that secular powers have their own norms and justifications. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.10) | |
| A reaction: I get the impression that a rather frank admission of the role of self-interest emerged at that time as well. It is only in the late seventeenth century that the possibility of a secular altruism begins to be investigated. But there's Shakespeare... |
| 8021 | The Levellers and the Diggers mark a turning point in the history of morality [MacIntyre] |
| Full Idea: The Levellers and the Diggers mark a turning point in the history of morality. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.11) | |
| A reaction: John Lilburne, the Leveller, 'Free-Born John', was the most important of them. They mainly fought for rights of religious conscience, but it quickly escalated into a demand for economic and social rights. It spread to France and the United States. |
| 22179 | Explanatory facts also predict, and predictive facts also explain [Hempel, by Okasha] |
| Full Idea: Hempel said every scientific explanation is potentially a prediction - it would have predicted the phenomenon in question, had it not already been known. But also the information used to make a prediction is potentially an explanation. | |
| From: report of Carl Hempel (Aspects of Scientific Explanation [1965]) by Samir Okasha - Philosophy of Science: Very Short Intro (2nd ed) 3 | |
| A reaction: Sounds too neatly glib to be quite true. If you explain a single event there is nothing to predict. You might predict accurately from a repetitive pattern, with no understanding at all of the pattern. |
| 6755 | For Hempel, explanations are deductive-nomological or probabilistic-statistical [Hempel, by Bird] |
| Full Idea: Hempel proposes that explanations involve covering laws and antecedent conditions; this view (the 'covering law' view) has two versions, the deductive-nomological model and the probabilistic-statistical model of explanation. | |
| From: report of Carl Hempel (Aspects of Scientific Explanation [1965]) by Alexander Bird - Philosophy of Science Ch.2 | |
| A reaction: The obvious problem with this approach, it seem to me, is that the laws themselves need explanation, and I don't see how a law can be foundational unless there is a divine law-giver. Are the laws arbitrary and axiomatic? |
| 17083 | The covering-law model is for scientific explanation; historical explanation is quite different [Hempel] |
| Full Idea: To put forward the covering-law models of scientific explanation is not to deny that there are other contexts in which we speak of explanation. ….That it does not fit explaining the rules of Hanoverian succession is to miss the intent of our model. | |
| From: Carl Hempel (Aspects of Scientific Explanation [1965], p. 412-3), quoted by David-Hillel Ruben - Explaining Explanation Ch 1 | |
| A reaction: Important to get that clear. It then requires a clear demarcation between science and the rest, and it had better not rule out biology because it is having a love affair with physics. |
| 13052 | Hempel rejects causation as part of explanation [Hempel, by Salmon] |
| Full Idea: Hempel explicitly rejects the idea that causality plays any essential explanatory role. | |
| From: report of Carl Hempel (Aspects of Scientific Explanation [1965], p.352) by Wesley Salmon - Four Decades of Scientific Explanation 1.1 | |
| A reaction: Hempel champions the 'covering-law' model of explanation. It strikes me that Hempel is so utterly wrong about this that his views aren't even a candidate for correctness, but then for a long time his views were orthodoxy. |
| 8006 | When Aristotle speaks of soul he means something like personality [MacIntyre] |
| Full Idea: When Aristotle speaks of the soul we could very often retain his meaning by speaking of personality. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 7) | |
| A reaction: MacIntyre contrasts this strongly with Plato's dualist view. Famously Aristotle thinks the soul is the 'form' of the body, but this implies that he also includes the higher-level functions of the body. Soul is character? |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 8002 | Sophists don't distinguish a person outside one social order from someone outside all order [MacIntyre] |
| Full Idea: The sophist tradition failed to distinguish the difference between the concept of a man who stands outside and is able to question the conventions of some one given social order, and the concept of a man who stands outside social life as such. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 3) | |
| A reaction: A very nice distinction. Compare foreigners in Athens with Diogenes of Sinope, who renounced all cities. This is the germ of MacIntyre's view that morality is essentially dependent on some sort of social order. He is a reviver of virtue theory. |
| 8012 | The value/fact logical gulf is misleading, because social facts involve values [MacIntyre] |
| Full Idea: One reason why it is highly misleading to talk of a logical gulf between value and fact....is that we cannot characterize the social life of a tribe in their factual terms and escape their evaluations. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.10) | |
| A reaction: Personally I like the objection that facts about functions cannot avoid the value of good functions, but this is very good. It is much better than simply trying to find a specific counterexample, such as facts about promises. Values just are facts. |
| 8005 | 'Happiness' is a bad translation of 'eudaimonia', which includes both behaving and faring well [MacIntyre] |
| Full Idea: The name 'eudaimonia' is badly but inevitably translated by 'happiness', badly because it includes both the notion of behaving well and the notion of faring well. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 7) | |
| A reaction: This seems to imply that it does not include the notion of feeling good. Aristotle, however, concludes that pleasure is part of eudaimonia. I take our 'happiness' to be an internal notion, while the Greek word is an external notion. |
| 8001 | 'Dikaiosune' is justice, but also fairness and personal integrity [MacIntyre] |
| Full Idea: The Greek 'dikaiosune' is inadequately translated as 'justice', but also as any other word; it combines the notion of fairness in externals with that of personal integrity in a way that no English word does. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 1) | |
| A reaction: 'Dikaiosune' is said to be the main topic of Plato's 'Republic'. Plato seems to have meant it to cover whatever makes a good character. Justice in behaviour presumably flows from internal justice of character (which is, roughly, inner harmony). |
| 8023 | My duties depend on my identity, which depends on my social relations [MacIntyre] |
| Full Idea: I cannot answer the question 'What ought I to do?' until I have answered the question 'Who am I?', and any answer to this question will specify my place in a nexus of social relationships. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.13) | |
| A reaction: This is the beginning of the modern critique of deontological ethics coming from revived virtue theory. As it stands, MacIntyre's idea sounds contractual, but I think he intends it in a more organic way. I am a fan. |
| 8022 | I am naturally free if I am not tied to anyone by a contract [MacIntyre] |
| Full Idea: The essence of the claim to natural rights is that no one has a right against me unless he can cite some contract, my consent to it, and his performance of his obligations under it. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.11) | |
| A reaction: This has become the foundation of western democracy, and the rebellious teenager's charter. Children have not consented to a contract with their parents. Close and loving relationships cease to be contractual. |
| 8031 | Fans of natural rights or laws can't agree on what the actual rights or laws are [MacIntyre] |
| Full Idea: It is notorious that adherents of theories about natural rights or natural laws offer lists of rights or laws which differ in substance from each other. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.17) | |
| A reaction: There seems to have been a consensus early on that self-defence was a natural right, but divergence presumably occurs when you get bolder and more complex. There is a lot of divergence over which is Shakespeare's best play. |
| 8008 | The Bible is a story about God in which humans are incidental characters [MacIntyre] |
| Full Idea: The Bible is a story about God in which human beings appear as incidental characters. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 9) | |
| A reaction: Very illuminating. He creates man, is betrayed by man, drowns him and starts again, sends a redeemer who gets murdered, and finally enlightens a small band who continue the uphill struggle to promote God's way. What next? |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |