7 ideas
| 13745 | Supervenience is not a dependence relation, on the lines of causal, mereological or semantic dependence [Kim] |
| Full Idea: It is a mistake, or at least misleading, to think of supervenience itself as a special and distinctive type of dependence relation, alongside causal dependence, mereological dependence, semantic dependence, and others. | |
| From: Jaegwon Kim (Postscripts on supervenience [1993], 2) | |
| A reaction: The point, I take it, is that supervenience is something which requires explanation, rather than being a conclusion to the debate. Why are statues beautiful? Why do brains generate minds? |
| 13746 | Supervenience is just a 'surface' relation of pattern covariation, which still needs deeper explanation [Kim] |
| Full Idea: Supervenience itself is not an explanatory relation, not a 'deep' metaphysical relation; rather it is a 'surface' relation that reports a pattern of property covariation, suggesting the presence of an interesting dependency relation that might explain it. | |
| From: Jaegwon Kim (Postscripts on supervenience [1993], 2) | |
| A reaction: I think the underlying idea here is that supervenience appeals to the Humean view of physical laws as mere regularities, but it is no good for those who seek underlying mechanisms to explain the patterns and regularities. Humeans are wrong. |
| 19347 | Substance needs independence, unity, and stability (for individuation); also it is a subject, for predicates [Perkins] |
| Full Idea: For individuation, substance needs three properties: independence, to separate it from other things; unity, to call it one thing, rather than an aggregate; and permanence or stability over time. Its other role is as subject for predicates. | |
| From: Franklin Perkins (Leibniz: Guide for the Perplexed [2007], 3.1) | |
| A reaction: Perkins is describing the Aristotelian view, which is taken up by Leibniz. 'Substance' is not a controversial idea, if we see that it only means that the world is full of 'things'. It is an unusual philosopher wholly totally denies that. |
| 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. |
| 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. |