14 ideas
| 17304 | As causation links across time, grounding links the world across levels [Schaffer,J] |
| Full Idea: Grounding is something like metaphysical causation. Just as causation links the world across time, grounding links the world across levels. Grounding connects the more fundamental to the less fundamental, and thereby backs a certain form of explanation. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], Intro) | |
| A reaction: Obviously you need 'levels' for this, which we should take to be structural levels. |
| 17306 | If ground is transitive and irreflexive, it has a strict partial ordering, giving structure [Schaffer,J] |
| Full Idea: By treating grounding as transitive (and irreflexive), one generates a strict partial ordering that induces metaphysical structure. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], Intro) | |
| A reaction: Schaffer's paper goes on to attach the claim that grounding is transitive, but I didn't find his examples very convincing. |
| 17308 | Explaining 'Adam ate the apple' depends on emphasis, and thus implies a contrast [Schaffer,J] |
| Full Idea: Explaining why ADAM ate the apple is a different matter from explaining why he ATE the apple, and from why he ate THE APPLE. ...In my view the best explanations incorporate ....contrastive information. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], 4.3.1) | |
| A reaction: But why are the contrasts Eve, or throwing it, or a pear? It occurs to me that this is wrong! The contrast is with anything else which could have gone in subject, verb or object position. It is a matter of categories, not of contrasts. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 17305 | I take what is fundamental to be the whole spatiotemporal manifold and its fields [Schaffer,J] |
| Full Idea: I myself would prefer to speak of what is fundamental in terms of the whole spatiotemporal manifold and the fields that permeate it, with parts counting as derivative of the whole. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], 4.1.1) | |
| A reaction: Not quite the Parmenidean One, since it has parts, but a nice try at updating the great man. Note the reference to 'fields', suggesting that this view is grounded in the physics rather than metaphysics. How many fields has it got? |
| 17307 | Nowadays causation is usually understood in terms of equations and variable ranges [Schaffer,J] |
| Full Idea: The leading treatments of causation work within 'structural equation models', with events represented via variables each of which is allotted a range of permitted values, which constitute a 'contrast space'. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], 4.3.1) | |
| A reaction: Like Woodward's idea that causation is a graph, this seems to be a matter of plotting or formalising correlations between activities, which is a very Humean approach to causation. |