15 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. |
| 9355 | One sort of circularity presupposes a premise, the other presupposes a rule being used [Braithwaite, by Devitt] |
| Full Idea: An argument is 'premise-circular' if it aims to establish a conclusion that is assumed as a premise of that very argument. An argument is 'rule-circular' if it aims to establish a conclusion that asserts the goodness of the rule used in that argument. | |
| From: report of R.B. Braithwaite (Scientific Explanation [1953], p.274-8) by Michael Devitt - There is no a Priori §2 | |
| A reaction: Rule circularity is the sort of thing Quine is always objecting to, but such circularities may be unavoidable, and even totally benign. All the good things in life form a mutually supporting team. |
| 10502 | We can rise by degrees through abstraction, with higher levels representing more things [Arnauld,A/Nicole,P] |
| Full Idea: I can start with a triangle, and rise by degrees to all straight-lined figures and to extension itself. The lower degree will include the higher degree. Since the higher degree is less determinate, it can represent more things. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: [compressed] This attempts to explain the generalising ability of abstraction cited in Idea 10501. If you take a complex object and eliminate features one by one, it can only 'represent' more particulars; it could hardly represent fewer. |
| 18258 | We can only know the exterior world via our ideas [Arnauld,A/Nicole,P] |
| Full Idea: We can have knowledge of what is outside us only through the mediation of ideas in us. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], p.63), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap 1 'Conc' |
| 16784 | Forms make things distinct and explain the properties, by pure form, or arrangement of parts [Arnauld,A/Nicole,P] |
| Full Idea: The form is what renders a thing such and distinguishes it from others, whether it is a being really distinct from the matter, according to the Schools, or whether it is only the arrangement of the parts. By this form one must explain its properties. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], III.18 p240), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 27.6 | |
| A reaction: If we ask 'what explains the properties of this thing' it is hard to avoid coming up with something that might be called the 'form'. Note that they allow either substantial or corpuscularian forms. It is hard to disagree with the idea. |
| 10499 | We know by abstraction because we only understand composite things a part at a time [Arnauld,A/Nicole,P] |
| Full Idea: The mind cannot perfectly understand things that are even slightly composite unless it considers them a part at a time. ...This is generally called knowing by abstraction. (..the human body, for example). | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: This adds the interesting thought that the mind is forced to abstract, rather than abstraction being a luxury extra feature. Knowledge through analysis is knowledge by abstraction. Also a nice linking of abstraction to epistemology. |
| 10501 | A triangle diagram is about all triangles, if some features are ignored [Arnauld,A/Nicole,P] |
| Full Idea: If I draw an equilateral triangle on a piece of paper, ..I shall have an idea of only a single triangle. But if I ignore all the particular circumstances and focus on the three equal lines, I will be able to represent all equilateral triangles. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: [compressed] They observed that we grasp composites through their parts, and now that we can grasp generalisations through particulars, both achieved by the psychological act of abstraction, thus showing its epistemological power. |
| 10500 | No one denies that a line has width, but we can just attend to its length [Arnauld,A/Nicole,P] |
| Full Idea: Geometers by no means assume that there are lines without width or surfaces without depth. They only think it is possible to consider the length without paying attention to the width. We can measure the length of a path without its width. | |
| From: Arnauld / Nicole (Logic (Port-Royal Art of Thinking) [1662], I.5) | |
| A reaction: A nice example which makes the point indubitable. The modern 'rigorous' account of abstraction that starts with Frege seems to require more than one object, in order to derive abstractions like direction or number. Path widths are not comparatives. |
| 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] |