34 ideas
| 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. |
| 1490 | You would have to be very morally lazy to ignore criticisms of your own culture [Nagel] |
| Full Idea: One would have to be very morally lazy to be unconcerned with the possibility that the prevailing morality of one's culture had something fundamentally wrong with it. | |
| From: Thomas Nagel (MacIntyre versus the Enlightenment [1988], 203) |
| 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. |
| 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. |
| 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. |
| 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. |
| 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? |