72 ideas
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 9476 | If dispositions are more fundamental than causes, then they won't conceptually reduce to them [Bird on Lewis] |
| Full Idea: Maybe a disposition is a more fundamental notion than a cause, in which case Lewis has from the very start erred in seeking a causal analysis, in a traditional, conceptual sense, of disposition terms. | |
| From: comment on David Lewis (Causation [1973]) by Alexander Bird - Nature's Metaphysics 2.2.8 | |
| A reaction: Is this right about Lewis? I see him as reducing both dispositions and causes to a set of bald facts, which exist in possible and actual worlds. Conditionals and counterfactuals also suffer the same fate. |
| 8425 | For true counterfactuals, both antecedent and consequent true is closest to actuality [Lewis] |
| Full Idea: A counterfactual is non-vacuously true iff it takes less of a departure from actuality to make the consequent true along with the antecedent than it does to make the antecedent true without the consequent. | |
| From: David Lewis (Causation [1973], p.197) | |
| A reaction: Almost every theory proposed by Lewis hangs on the meaning of the word 'close', as used here. If you visited twenty Earth-like worlds (watch Startrek?), it would be a struggle to decide their closeness to ours in rank order. |
| 4266 | Having beliefs involves recognition, expectation and surprise [Scruton] |
| Full Idea: With the concept of belief (e.g. in animals) comes recognition, expectation and surprise. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.15) | |
| A reaction: A good observation. It is always tempting to see mental faculties in isolation, but each one drags along other capacities with it. Looks a bit holistic. |
| 4265 | If an animal has beliefs, that implies not only that it can make mistakes, but that it can learn from them [Scruton] |
| Full Idea: To say that an animal has beliefs is to imply not just that it can make mistakes, but also that it can learn from them. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.15) | |
| A reaction: A bold claim which is hard to substantiate. Seems right, though. Why would they change a belief? It can't be a belief if it isn't changeable. That would be an instinct. |
| 4264 | Perception (which involves an assessment) is a higher state than sensation [Scruton] |
| Full Idea: Perception is a higher state than sensation: it involves not just a response to the outer world, but also an assessment of it. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.14) | |
| A reaction: This seems to me a simple but really important distinction, even though it wickedly uses the word 'higher', which Greeks like but post-Humeans struggle with. But we all know it is higher, don't we? |
| 4271 | There is consciousness whenever behaviour must be explained in terms of mental activity [Scruton] |
| Full Idea: There is consciousness whenever behaviour must be explained in terms of mental activity. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.23) | |
| A reaction: Not a point that would trouble an eliminativist, as it sounds suspiciously circular or question-begging. |
| 4272 | Our concept of a person is derived from Roman law [Scruton] |
| Full Idea: Our concept of a person is derived from Roman law. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.28) | |
| A reaction: Interesting. I don't believe Roman legislators invented it, so where did it originate? Interesting that it is legalistic - a thing to which rights can accrue. Compare character, to which virtues accrue. |
| 8424 | Determinism says there can't be two identical worlds up to a time, with identical laws, which then differ [Lewis] |
| Full Idea: By determinism I mean that the prevailing laws of nature are such that there do not exist any two possible worlds which are exactly alike up to that time, which differ thereafter, and in which those laws are never violated. | |
| From: David Lewis (Causation [1973], p.196) | |
| A reaction: This would mean that the only way an action of free will could creep in would be if it accepted being a 'violation' of the laws of nature. Fans of free will would probably prefer to call it a 'natural' phenomenon. I'm with Lewis. |
| 4267 | Conditioning may change behaviour without changing the mind [Scruton] |
| Full Idea: Conditioning involves a change of behaviour, but not necessarily a change of mind. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.16) | |
| A reaction: I am inclined to doubt this. If I was conditioned in some way, I would expect my conscious state to change as well as my behaviour. |
| 4269 | An emotion is a motive which is also a feeling [Scruton] |
| Full Idea: An emotion is a motive which is also a feeling. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.17) | |
| A reaction: What is a motive without feeling? A universalised judgment, perhaps. Which comes first, the motivation or the feeling? |
| 4270 | Do we use reason to distinguish people from animals, or use that difference to define reason? [Scruton] |
| Full Idea: The difficulty of defining reason suggests that while pretending to use it to define the difference between humans and animals, they are actually using that difference to define reason. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.19) | |
| A reaction: Too pessimistic. We are perfectly capable of saying there is no significant difference between us and an alien. We have obvious abilities, which we can partly specify. |
| 8420 | A proposition is a set of possible worlds where it is true [Lewis] |
| Full Idea: I identify a proposition with the set of possible worlds where it is true. | |
| From: David Lewis (Causation [1973], p.193) | |
| A reaction: As it stands, I'm baffled by this. How can 'it is raining' be a set of possible worlds? I assume it expands to refer to the truth-conditions, among possibilities as well as actualities. 'It is raining' fits all worlds where it is raining. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 4284 | All moral life depends ultimately on piety, which is our recognition of our own dependence [Scruton] |
| Full Idea: The three forms of moral life (respect for persons, the pursuit of virtue and natural sympathy) all depend, in the last analysis, on piety, which is the deep-down recognition of our frailty and dependence. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.56) | |
| A reaction: MacIntyre agrees. 'Piety' is an odd word, which attempts to link the point to religious teachings. 'Dependence' seems an adequate term. But can fully independent creatures dispense with morality? I think not. |
| 4273 | Kant's Moral Law is the rules rational beings would accept when trying to live by agreement [Scruton] |
| Full Idea: We can see the Kantian 'Moral Law' as consisting precisely in those rules which rational beings would accept, when attempting to live by agreement. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.30) | |
| A reaction: If this combines Kantian notions of duty with the obligations of contracts, it is the core of a very powerful moral theory. See the work of Tim Scanlon. Classic problems are still the weak, animals and free riders. |
| 4274 | The modern virtues are courage, prudence, wisdom, temperance, justice, charity and loyalty [Scruton] |
| Full Idea: The antique virtues of courage, prudence, wisdom, temperance and justice, amplified by Christian charity and pagan loyalty, still form the core idea of human excellence. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.33) | |
| A reaction: I always think sense of humour has become a key modern virtue. Where did that come from? Maybe a sense of irony is a good thing. How about efficiency (which is Plato's idea of justice!)? |
| 4286 | Only just people will drop their own self-interests when faced with an impartial verdict [Scruton] |
| Full Idea: Only just people will act on the impartial verdict when their own interests conflict with it. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.61) | |
| A reaction: The Kantian account of the virtues. Virtues are seen in the acceptance of a range of obvious human duties. Very helpful point if one is aiming for one unified theory of morality. |
| 4283 | Sympathy can undermine the moral order just as much as crime does [Scruton] |
| Full Idea: A person who lives by sympathy may undermine the moral order as effectively as the one who lives by crime. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.54) | |
| A reaction: A slightly chilling remark. Presumably one should not feel too much for suffering which is deserved. What about unavoidable suffering? It is certainly important to see that some suffering is morally good (e.g. grief or remorse). |
| 4290 | That which can only be done by a callous person, ought not to be done [Scruton] |
| Full Idea: That which can only be done by a callous person, ought not to be done. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.86) | |
| A reaction: The problem cases all arise in wartime. Ideally we want to show sympathy even when being necessarily ruthless, but in practice we send the callous ones to do the horrible deed. |
| 4285 | As soon as we drop self-interest and judge impartially, we find ourselves agreeing about conflicts [Scruton] |
| Full Idea: As soon as we set our own interests aside and look on human relations with the eye of the impartial judge, we find ourselves agreeing over the rights and wrongs of any conflict. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.59) | |
| A reaction: A nice, and fairly plausible, defence of Kantian ethics. Maybe the UN should actually settle all disputes, instead of just peace-keeping. The idea merely describes the function of the law, and especially an independent judiciary. |
| 4287 | Utilitarianism merely guides us (by means of sympathy) when the moral law is silent [Scruton] |
| Full Idea: Utilitarian thinking does not replace or compete with the moral law, but guides us when the moral law is silent and only sympathy speaks. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.63) | |
| A reaction: If the moral law is silent, it is not quite clear why we should follow sympathy rather than contempt. There is the well-known danger here of the moral law turning out to lack content. |
| 4282 | Morality is not a sort of calculation, it is what sets the limits to when calculation is appropriate [Scruton] |
| Full Idea: It is nearer the truth to see morality as setting the limits to practical reasoning, rather than being a species of it. Moral principles tell us precisely that we must go no further along the path of calculation. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.52) | |
| A reaction: Well said. If you are assessing whether an act of vicious brutality is required, you have probably already gone morally astray. It is not hard, though, to think of counterexamples, especially in wartime. |
| 4281 | Utilitarianism says we can't blame Stalin yet, but such a theory is a sick joke [Scruton] |
| Full Idea: Stalin and Hitler justified their actions in utilitarian terms, ..and no one can accuse them, for who knows what the long-term effects of their actions might be? But a morality which can't pass final judgement on Hitler or Stalin is a kind of sick joke. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.52) | |
| A reaction: A powerful argument against simplistic consequentialism. We can judge an action at any time, even beforehand, and that must be part of morality, which can't just observe the unfolding consequences. |
| 4280 | Utilitarianism is wrong precisely because it can't distinguish animals from people [Scruton] |
| Full Idea: It was precisely the inability of utilitarianism to explain the distinction between animals and people which led to its rejection. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.50) | |
| A reaction: A nice turning of the tables, rejecting the utilitarian pride in incorporating animals into their theory where others (like Kant) reject them. Yet in one respect (suffering) they are inescapably very like us. |
| 4296 | Brutal animal sports are banned because they harm the personality of the watcher [Scruton] |
| Full Idea: Dog-fights and bear-baiting are naturally forbidden by law, because they threaten the personality of those who attend them. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.107) | |
| A reaction: Hm. If this is so, it is mainly because it takes place in a closed pen, where we can get a close look at the brutality and blood. It could be said to be more honest than hunting with gun or hounds. 'Go on eyes, look your worst'. |
| 4288 | Many breeds of animals have needs which our own ancestors planted in them [Scruton] |
| Full Idea: Many breeds of animals have needs which our own ancestors planted in them. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.75) | |
| A reaction: He is talking about race horses and St Bernards. This doesn't avoid the moral dilemma, because we could race horses die out if we thought we had created a bad life for them. |
| 4293 | Introducing a natural means of controlling animal population may not be very compassionate [Scruton] |
| Full Idea: It is hard to believe that those who would introduce wolves as a means of controlling the deer population have much sympathy for deer. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.91) | |
| A reaction: Good point. If we assume that culling is required at all, then the decisive human actions which shock us on television may be nicer than the natural deaths that occur during the night. |
| 4295 | We favour our own animals over foreign ones because we see them as fellow citizens [Scruton] |
| Full Idea: We don't give help to British animals (through the RSPCA) rather than foreign animals because of their nearness or needs, but because of our sense of them as fellow citizens. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.104) | |
| A reaction: A bit strong. It may, in fact, be because we look after them the way we look after the rest of our property. Even Kantians can be sentimental sometimes. |
| 4268 | Animals command our sympathy and moral concern initially because of their intentionality [Scruton] |
| Full Idea: It seems to me that the concept of intentionality introduces the first genuine claim of animals upon our sympathies and our moral concern. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.16) | |
| A reaction: Good. If one's approach to morality is Humean (via sympathy) this seems right. Utilitarianism bases animal rights on qualia (pleasures and pains). |
| 4291 | Letting your dog kill wild rats, and keeping rats for your dog to kill, are very different [Scruton] |
| Full Idea: There is a difference between the person who allows his terrier to kill wild rats, and the person who keeps tame rats for his terrier to kill. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.87) | |
| A reaction: There are areas in the middle, where I encourage pheasants to breed 'wild' on my land. The purchase of a Rottweiller also tests the moral boundaries here. |
| 4263 | Many of the stranger forms of life (e.g. worms) interest us only as a species, not as individuals [Scruton] |
| Full Idea: Most of the stranger forms of life (worms, fleas, locusts etc.) are not really suitors for our moral concern, and interest us primarily as species, and only rarely as individuals. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.13) | |
| A reaction: Interesting, but that seems to reflect on us, rather than cutting nature at the joints. As soon as you look closely, you recognise an individual rather than a member of a species. |
| 4276 | An animal has individuality if it is nameable, and advanced animals can respond to their name [Scruton] |
| Full Idea: An animal has acquired individuality if the gift of a proper name seems appropriate, the high point being reached with animals such as dogs which actually respond to their own name. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.39) | |
| A reaction: Interesting, even though it is rather chauvinistic. I might name the fleas in my circus, but regard a whole section of the human race as indistinguishable and not worth naming. |
| 4277 | I may avoid stepping on a spider or flower, but fellow-feeling makes me protect a rabbit [Scruton] |
| Full Idea: I instinctively recoil from stepping on a spider or a forget-me-knot in my path, but neither of these responses expresses the fellow-feeling that forbids me to step on a rabbit or a mouse. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.41) | |
| A reaction: It is fellow-feeling that makes us prefer mammals to reptiles. It seems wrong to build a moral system purely on empathy, because psychopaths don't even empathise with nice human beings. Externalism in morality. |
| 4278 | Lucky animals are eaten by large predators, the less lucky starve, and worst is death by small predators [Scruton] |
| Full Idea: Lucky animals die in the jaws of a large predator; predators themselves are less lucky, when they die of lingering starvation; least fortunate are those killed by smaller creatures, such as maggots and bacteria. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.43) | |
| A reaction: A nice insight, even if it does slide into claiming that we are simply large predators, and that therefore fox-hunting is a virtue… |
| 4279 | We can easily remove the risk of suffering from an animal's life, but we shouldn't do it [Scruton] |
| Full Idea: It is easy to remove the risk of suffering from an animal's life, but the result is not a life which an animal should lead. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.44) | |
| A reaction: I'm not clear where the "should" derives from here. You can't save them all, and large interventions would destroy the ecosystem. But should we never, say, put a victim out of its misery? |
| 4289 | Sheep and cattle live comfortable lives, and die an enviably easy death [Scruton] |
| Full Idea: Sheep and beef cattle live a quiet and comfortable life among their companions, and are despatched in ways which human beings, if they are rational, must surely envy. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.81) | |
| A reaction: No rational person could envy a premature death, and we don't wait for cattle to be old before eating them. A quick death is little consolation for being murdered, and many people would prefer a slower death (without agony, of course). |
| 4292 | Concern for one animal may harm the species, if the individual is part of a bigger problem [Scruton] |
| Full Idea: Too much concern for individual animals may in fact harm the species, by promoting diseased or degenerate members, or preventing population control. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.87) | |
| A reaction: Okay till we reach human beings, where this principle won't go away, even if further principles about personhood, rationality and deep sympathy enter the picture. We can't be utilitarian about animals, and something else about humans. |
| 4294 | Animals are outside the community of rights, but we still have duties towards them [Scruton] |
| Full Idea: Animals exist outside the web of reciprocal rights and obligations, created by dialogue, but because they have no rights it does not mean that we have no duties towards them. | |
| From: Roger Scruton (Animal Rights and Wrongs [1996], p.97) | |
| A reaction: The modern Kantian view of animals, though Kant struggled to show why we might have any duties to animals. Is mere compassion enough to produce a duty, or is it a luxurious indulgence of our nature? |
| 8405 | A theory of causation should explain why cause precedes effect, not take it for granted [Lewis, by Field,H] |
| Full Idea: Lewis thinks it is a major defect in a theory of causation that it builds in the condition that the time of the cause precede that of the effect: that cause precedes effect is something we ought to explain (which his counterfactual theory claims to do). | |
| From: report of David Lewis (Causation [1973]) by Hartry Field - Causation in a Physical World | |
| A reaction: My immediate reaction is that the chances of explaining such a thing are probably nil, and that we might as well just accept the direction of causation as a given. Even philosophers balk at the question 'why doesn't time go backwards?' |
| 8427 | I reject making the direction of causation axiomatic, since that takes too much for granted [Lewis] |
| Full Idea: One might stipulate that a cause must always precede its effect, but I reject this solution. It won't solve the problem of epiphenomena, it rejects a priori any backwards causation, and it trivializes defining time-direction through causation. | |
| From: David Lewis (Causation [1973], p.203) | |
| A reaction: [compressed] Not strong arguments, I would say. Maybe apparent causes are never epiphenomenal. Maybe backwards causation is impossible. Maybe we must use time to define causal direction, and not vice versa. |
| 10392 | It is just individious discrimination to pick out one cause and label it as 'the' cause [Lewis] |
| Full Idea: We sometimes single out one among all the causes of some event and call it 'the' cause. ..We may select the abnormal causes, or those under human control, or those we deem good or bad, or those we want to talk about. This is invidious discrimination. | |
| From: David Lewis (Causation [1973]) | |
| A reaction: This is the standard view expressed by Mill - presumably the obvious empiricist line. But if we specify 'the pre-conditions' for an event, we can't just mention ANY fact prior to the effect - there is obvious relevance. So why not for 'the' cause as well? |
| 8419 | The modern regularity view says a cause is a member of a minimal set of sufficient conditions [Lewis] |
| Full Idea: In present-day regularity analyses, a cause is defined (roughly) as any member of any minimal set of actual conditions that are jointly sufficient, given the laws, for the existence of the effect. | |
| From: David Lewis (Causation [1973], p.193) | |
| A reaction: This is the view Lewis is about to reject. It seem to summarise the essence of the Mackie INUS theory. This account would make the presence of oxygen a cause of almost every human event. |
| 8421 | Regularity analyses could make c an effect of e, or an epiphenomenon, or inefficacious, or pre-empted [Lewis] |
| Full Idea: In the regularity analysis of causes, instead of c causing e, c might turn out to be an effect of e, or an epiphenomenon, or an inefficacious effect of a genuine cause, or a pre-empted cause (by some other cause) of e. | |
| From: David Lewis (Causation [1973], p.194) | |
| A reaction: These are Lewis's reasons for rejecting the general regularity account, in favour of his own particular counterfactual account. It is unlikely that c would be regularly pre-empted or epiphenomenal. If we build time's direction in, it won't be an effect. |
| 17525 | The counterfactual view says causes are necessary (rather than sufficient) for their effects [Lewis, by Bird] |
| Full Idea: The Humean idea, developed by Lewis, is that rather than being sufficient for their effects, causes are (counterfactual) necessary for their effects. | |
| From: report of David Lewis (Causation [1973]) by Alexander Bird - Causation and the Manifestation of Powers p.162 |
| 17524 | Lewis has basic causation, counterfactuals, and a general ancestral (thus handling pre-emption) [Lewis, by Bird] |
| Full Idea: Lewis's basic account has a basic causal relation, counterfactual dependence, and the general causal relation is the ancestral of this basic one. ...This is motivated by counterfactual dependence failing to be general because of the pre-emption problem. | |
| From: report of David Lewis (Causation [1973]) by Alexander Bird - Causation and the Manifestation of Powers p.161 | |
| A reaction: It is so nice when you struggle for ages with a topic, and then some clever person summarises it clearly for you. |
| 8397 | Counterfactual causation implies all laws are causal, which they aren't [Tooley on Lewis] |
| Full Idea: Some counterfactuals are based on non-causal laws, such as Newton's Third Law of Motion. 'If no force one way, then no force the other'. Lewis's counterfactual analysis implies that one force causes the other, which is not the case. | |
| From: comment on David Lewis (Causation [1973]) by Michael Tooley - Causation and Supervenience 5.2 | |
| A reaction: So what exactly does 'cause' my punt to move forwards? Basing causal laws on counterfactual claims looks to me like putting the cart before the horse. |
| 8423 | My counterfactual analysis applies to particular cases, not generalisations [Lewis] |
| Full Idea: My (counterfactual) analysis is meant to apply to causation in particular cases; it is not an analysis of causal generalizations. Those presumably quantify over particulars, but it is hard to match natural language to the quantifiers. | |
| From: David Lewis (Causation [1973], p.195) | |
| A reaction: What authority could you have for asserting a counterfactual claim, if you only had one observation? Isn't the counterfactual claim the hallmark of a generalisation? For one case, 'if not-c, then not-e' is just a speculation. |
| 8426 | One event causes another iff there is a causal chain from first to second [Lewis] |
| Full Idea: One event is the cause of another iff there exists a causal chain leading from the first to the second. | |
| From: David Lewis (Causation [1973], p.200) | |
| A reaction: It will be necessary to both explain and identify a 'chain'. Some chains are extremely tenuous (Alexander could stop a barrel of beer). Go back a hundred years, and the cause of any present event is everything back then. |
| 4795 | Lewis's account of counterfactuals is fine if we know what a law of nature is, but it won't explain the latter [Cohen,LJ on Lewis] |
| Full Idea: Lewis can elucidate the logic of counterfactuals on the assumption that you are not at all puzzled about what a law of nature is. But if you are puzzled about this, it cannot contribute anything towards resolving your puzzlement. | |
| From: comment on David Lewis (Causation [1973]) by L. Jonathan Cohen - The Problem of Natural Laws p.219 | |
| A reaction: This seems like a penetrating remark. The counterfactual theory is wrong, partly because it is epistemological instead of ontological, and partly because it refuses to face the really difficult problem, of what is going on out there. |