14 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. |
| 8784 | Neo-logicism founds arithmetic on Hume's Principle along with second-order logic [Hale/Wright] |
| Full Idea: The result of joining Hume's Principle to second-order logic is a consistent system which is a foundation for arithmetic, in the sense that all the fundamental laws of arithmetic are derivable within it as theorems. This seems a vindication of logicism. | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 1) | |
| A reaction: The controversial part seems to be second-order logic, which Quine (for example) vigorously challenged. The contention against most attempts to improve Frege's logicism is that they thereby cease to be properly logical. |
| 8787 | The Julius Caesar problem asks for a criterion for the concept of a 'number' [Hale/Wright] |
| Full Idea: The Julius Caesar problem is the problem of supplying a criterion of application for 'number', and thereby setting it up as the concept of a genuine sort of object. (Why is Julius Caesar not a number?) | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 3) | |
| A reaction: One response would be to deny that numbers are objects. Another would be to derive numbers from their application in counting objects, rather than the other way round. I suspect that the problem only real bothers platonists. Serves them right. |
| 8788 | Logicism is only noteworthy if logic has a privileged position in our ontology and epistemology [Hale/Wright] |
| Full Idea: It is only if logic is metaphysically and epistemologically privileged that a reduction of mathematical theories to logical ones can be philosophically any more noteworthy than a reduction of any mathematical theory to any other. | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 8) | |
| A reaction: It would be hard to demonstrate this privileged position, though intuitively there is nothing more basic in human rationality. That may be a fact about us, but it doesn't make logic basic to nature, which is where proper reduction should be heading. |
| 8783 | Logicism might also be revived with a quantificational approach, or an abstraction-free approach [Hale/Wright] |
| Full Idea: Two modern approaches to logicism are the quantificational approach of David Bostock, and the abstraction-free approach of Neil Tennant. | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 1 n2) | |
| A reaction: Hale and Wright mention these as alternatives to their own view. I merely catalogue them for further examination. My immediate reaction is that Bostock sounds hopeless and Tennant sounds interesting. |
| 7628 | Broad rejects the inferential component of the representative theory [Broad, by Maund] |
| Full Idea: Broad, one of the most important modern defenders of the representative theory of perception, explicitly rejects the inferential component of the theory. | |
| From: report of C.D. Broad (Mind and Its Place in Nature [1925]) by Barry Maund - Perception Ch.1 | |
| A reaction: Since the supposed inferences happen much too quickly to be conscious, it is hard to see how we could distinguish an inference from an interpretation mechanism. Personally I interpret things long before the question of truth arises. |
| 8786 | One first-order abstraction principle is Frege's definition of 'direction' in terms of parallel lines [Hale/Wright] |
| Full Idea: An example of a first-order abstraction principle is Frege's definition of 'direction' in terms of parallel lines; a higher-order example (which refers to first-order predicates) defines 'equinumeral' in terms of one-to-one correlation (Hume's Principle). | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 1) | |
| A reaction: [compressed] This is the way modern logicians now treat abstraction, but abstraction principles include the elusive concept of 'equivalence' of entities, which may be no more than that the same adjective ('parallel') can be applied to them. |
| 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] |