10 ideas
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 4055 | It isn't obviously wicked to destroy a potential human being (e.g. an ununited egg and sperm) [Lockwood] |
| Full Idea: A week-old embryo without a brain may be a potential human being, but so are a sperm and an ovum that are about to meet in a dish, and it wouldn't be wicked to keep those apart. | |
| From: Michael Lockwood (When Does a Life Begin? [1985], p.19) | |
| A reaction: Sounds fine, but it may be a slippery slope. Is it acceptable to deny a place at music school to a potentially great musician? |
| 4054 | I may exist before I become a person, just as I exist before I become an adult [Lockwood] |
| Full Idea: It makes perfectly good sense to say that I existed before I became a person, just as I existed before I became an adult, or a philosopher. | |
| From: Michael Lockwood (When Does a Life Begin? [1985], p.13) | |
| A reaction: The word 'I' needs thought here. I was once a non-adult, but was I ever a non-person? 'Person' is not a clear concept, despite what many philosophers since Locke may think. |
| 4056 | If the soul is held to leave the body at brain-death, it should arrive at the time of brain-creation [Lockwood] |
| Full Idea: Any Christian who feels that body and soul go their separate ways at brain death ought in consistency to hold that they come together only at the point when whatever is destroyed at brain death first came into being. | |
| From: Michael Lockwood (When Does a Life Begin? [1985], p.24) | |
| A reaction: Hence Christians probably focus less on brain-death than do doctors and the rest of us. |
| 8412 | A causal interaction is when two processes intersect, and correlated modifications persist afterwards [Salmon] |
| Full Idea: When two processes intersect, and they undergo correlated modifications which persist after the intersection, I shall say that the intersection is a causal interaction. I take this as a fundamental causal concept. | |
| From: Wesley Salmon (Causality: Production and Propagation [1980], §4) | |
| A reaction: There may be a problem individuating processes, just as there is for events. I like this approach to causation, which is ontologically sparse, and fits in with the scientific worldview. Change of properties sounds precise, but isn't. Stick to processes. |
| 8413 | Cause must come first in propagations of causal interactions, but interactions are simultaneous [Salmon] |
| Full Idea: In a typical cause-effect situation (a 'propagation') cause must precede effect, for propagation over a finite time interval is an essential feature. In an 'interaction', an intersection of processes resulting in change, we have simultaneity. | |
| From: Wesley Salmon (Causality: Production and Propagation [1980], §8) | |
| A reaction: This takes the direction of time as axiomatic, and quite right too. Salmon isn't addressing the real difficulty, though, which is that the resultant laws are usually held to be time-reversible, which is a bit of a puzzle. |
| 8411 | Instead of localised events, I take enduring and extended processes as basic to causation [Salmon] |
| Full Idea: I propose to approach causality by taking processes rather than events as basic entities. Events are relatively localised in space and time, while processes have much greater temporal duration, and, in many cases, much greater spatial extent. | |
| From: Wesley Salmon (Causality: Production and Propagation [1980], §2) | |
| A reaction: This strikes me as an incredibly promising proposal, not just in our understanding of causation, but for our general metaphysics and understanding of nature. See Idea 4931, for example. Vague events and processes blend into one another. |