54 ideas
| 19336 | Wisdom involves the desire to achieve perfection [Leibniz] |
| Full Idea: The wiser one is, the more one is determined to do that which is most perfect. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.151) | |
| A reaction: Debatable. 'Perfectionism' is a well-known vice in many areas of life. Life is short, and the demands on us are many. Skilled shortcuts and compromises are one hallmark of genius, and presumably also of wisdom. |
| 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. |
| 13252 | Some truths have true negations [Beall/Restall] |
| Full Idea: Dialetheism is the view that some truths have true negations. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 7.4) | |
| A reaction: The important thing to remember is that they are truths. Thus 'Are you feeling happy?' might be answered 'Yes and no'. |
| 13247 | A truthmaker is an object which entails a sentence [Beall/Restall] |
| Full Idea: The truthmaker thesis is that an object is a truthmaker for a sentence if and only if its existence entails the sentence. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 5.5.3) | |
| A reaction: The use of the word 'object' here is even odder than usual, and invites many questions. And the 'only if' seems peculiar, since all sorts of things can make a sentence true. 'There is someone in the house' for example. |
| 13249 | (∀x)(A v B) |- (∀x)A v (∃x)B) is valid in classical logic but invalid intuitionistically [Beall/Restall] |
| Full Idea: The inference of 'distribution' (∀x)(A v B) |- (∀x)A v (∃x)B) is valid in classical logic but invalid intuitionistically. It is straightforward to construct a 'stage' at which the LHS is true but the RHS is not. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 6.1.2) | |
| A reaction: This seems to parallel the iterative notion in set theory, that you must construct your hierarchy. All part of the general 'constructivist' approach to things. Is some kind of mad platonism the only alternative? |
| 13243 | Excluded middle must be true for some situation, not for all situations [Beall/Restall] |
| Full Idea: Relevant logic endorses excluded middle, ..but says instances of the law may fail. Bv¬B is true in every situation that settles the matter of B. It is necessary that there is some such situation. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 5.2) | |
| A reaction: See next idea for the unusual view of necessity on which this rests. It seems easier to assert something about all situations than just about 'some' situation. |
| 13242 | It's 'relevantly' valid if all those situations make it true [Beall/Restall] |
| Full Idea: The argument from P to A is 'relevantly' valid if and only if, for every situation in which each premise in P is true, so is A. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 5.2) | |
| A reaction: I like the idea that proper inference should have an element of relevance to it. A falsehood may allow all sorts of things, without actually implying them. 'Situations' sound promising here. |
| 13246 | Relevant logic does not abandon classical logic [Beall/Restall] |
| Full Idea: We have not abandoned classical logic in our acceptance of relevant logic. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 5.4) | |
| A reaction: It appears that classical logic is straightforwardly accepted, but there is a difference of opinion over when it is applicable. |
| 13245 | Relevant consequence says invalidity is the conclusion not being 'in' the premises [Beall/Restall] |
| Full Idea: Relevant consequence says the conclusion of a relevantly invalid argument is not 'carried in' the premises - it does not follow from the premises. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 5.3.3) | |
| A reaction: I find this appealing. It need not invalidate classical logic. It is just a tougher criterion which is introduced when you want to do 'proper' reasoning, instead of just playing games with formal systems. |
| 13254 | A doesn't imply A - that would be circular [Beall/Restall] |
| Full Idea: We could reject the inference from A to itself (on grounds of circularity). | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 8) | |
| A reaction: [Martin-Meyer System] 'It's raining today'. 'Are you implying that it is raining today?' 'No, I'm SAYING it's raining today'. Logicians don't seem to understand the word 'implication'. Logic should capture how we reason. Nice proposal. |
| 13255 | Relevant logic may reject transitivity [Beall/Restall] |
| Full Idea: Some relevant logics reject transitivity, but we defend the classical view. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 8) | |
| A reaction: [they cite Neil Tennant for this view] To reject transitivity (A?B ? B?C ? A?C) certainly seems a long way from classical logic. But in everyday inference Tennant's idea seems good. The first premise may be irrelevant to the final conclusion. |
| 13250 | Free logic terms aren't existential; classical is non-empty, with referring names [Beall/Restall] |
| Full Idea: A logic is 'free' to the degree it refrains from existential import of its singular and general terms. Classical logic must have non-empty domain, and each name must denote in the domain. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 7.1) | |
| A reaction: My intuition is that logic should have no ontology at all, so I like the sound of 'free' logic. We can't say 'Pegasus does not exist', and then reason about Pegasus just like any other horse. |
| 13235 | Logic studies consequence; logical truths are consequences of everything, or nothing [Beall/Restall] |
| Full Idea: Nowadays we think of the consequence relation itself as the primary subject of logic, and view logical truths as degenerate instances of this relation. Logical truths follow from any set of assumptions, or from no assumptions at all. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.2) | |
| A reaction: This seems exactly right; the alternative is the study of necessities, but that may not involve logic. |
| 13238 | Syllogisms are only logic when they use variables, and not concrete terms [Beall/Restall] |
| Full Idea: According to the Peripatetics (Aristotelians), only syllogistic laws stated in variables belong to logic, and not their applications to concrete terms. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.5) | |
| A reaction: [from Lukasiewicz] Seems wrong. I take it there are logical relations between concrete things, and the variables are merely used to describe these relations. Variables lack the internal powers to drive logical necessities. Variables lack essence! |
| 13234 | The view of logic as knowing a body of truths looks out-of-date [Beall/Restall] |
| Full Idea: Through much of the 20th century the conception of logic was inherited from Frege and Russell, as knowledge of a body of logical truths, as arithmetic or geometry was a knowledge of truths. This is odd, and a historical anomaly. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.2) | |
| A reaction: Interesting. I have always taken this idea to be false. I presume logic has minimal subject matter and truths, and preferably none at all. |
| 13232 | Logic studies arguments, not formal languages; this involves interpretations [Beall/Restall] |
| Full Idea: Logic does not study formal languages for their own sake, which is formal grammar. Logic evaluates arguments, and primarily considers formal languages as interpreted. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.1) | |
| A reaction: Hodges seems to think logic just studies formal languages. The current idea strikes me as a much more sensible view. |
| 13241 | The model theory of classical predicate logic is mathematics [Beall/Restall] |
| Full Idea: The model theory of classical predicate logic is mathematics if anything is. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 4.2.1) | |
| A reaction: This is an interesting contrast to the claim of logicism, that mathematics reduces to logic. This idea explains why students of logic are surprised to find themselves involved in mathematics. |
| 13253 | There are several different consequence relations [Beall/Restall] |
| Full Idea: We are pluralists about logical consequence because we take there to be a number of different consequence relations, each reflecting different precisifications of the pre-theoretic notion of deductive logical consequence. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 8) | |
| A reaction: I don't see how you avoid the slippery slope that leads to daft logical rules like Prior's 'tonk' (from which you can infer anything you like). I say that nature imposes logical conquence on us - but don't ask me to prove it. |
| 13240 | A sentence follows from others if they always model it [Beall/Restall] |
| Full Idea: The sentence X follows logically from the sentences of the class K if and only if every model of the class K is also a model of the sentence X. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 3.2) | |
| A reaction: This why the symbol |= is often referred to as 'models'. |
| 13236 | Logical truth is much more important if mathematics rests on it, as logicism claims [Beall/Restall] |
| Full Idea: If mathematical truth reduces to logical truth then it is important what counts as logically true, …but if logicism is not a going concern, then the body of purely logical truths will be less interesting. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.2) | |
| A reaction: Logicism would only be one motivation for pursuing logical truths. Maybe my new 'Necessitism' will derive the Peano Axioms from broad necessary truths, rather than from logic. |
| 13237 | Preface Paradox affirms and denies the conjunction of propositions in the book [Beall/Restall] |
| Full Idea: The Paradox of the Preface is an apology, that you are committed to each proposition in the book, but admit that collectively they probably contain a mistake. There is a contradiction, of affirming and denying the conjunction of propositions. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.4) | |
| A reaction: This seems similar to the Lottery Paradox - its inverse perhaps. Affirm all and then deny one, or deny all and then affirm one? |
| 7696 | Leibniz first asked 'why is there something rather than nothing?' [Leibniz, by Jacquette] |
| Full Idea: The historical honour of having first raised the question "Why is there something rather than nothing?" belongs to Leibniz. | |
| From: report of Gottfried Leibniz (On the Ultimate Origination of Things [1697]) by Dale Jacquette - Ontology Ch.3 | |
| A reaction: I presume that people before Leibniz may well have had the thought, but not bothered to even articulate it, because there seemed nothing to say by way of answer, other than some reference to the inscrutable will of God. |
| 19341 | There must be a straining towards existence in the essence of all possible things [Leibniz] |
| Full Idea: Since something rather than nothing exists, there is a certain urge for existence, or (so to speak) a straining toward existence in possible things or in possibility or essence itself; in a word, essence in and of itself strives for existence. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.150) | |
| A reaction: Thus 'essence precedes existence'. Not sure I understand this, but at least it places an active power at the root of everything (though Leibniz probably sees that as divine). The Big Bang triggered by a 'quantum fluctuation'? |
| 19428 | Because something does exist, there must be a drive in possible things towards existence [Leibniz] |
| Full Idea: From the very fact that something exists rather than nothing, we recognise that there is in possible things, that is, in the very possibility or essence, a certain exigent need of existence, and, so to speak, some claim to existence. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.347) | |
| A reaction: I love the fact that Leibniz tried to explain why there is something rather than nothing. Bede Rundle and Dale Jacquette are similar heroes. As Leibniz tells us, contradictions have no claim to existence, but non-contradictions do. |
| 13244 | Relevant necessity is always true for some situation (not all situations) [Beall/Restall] |
| Full Idea: In relevant logic, the necessary truths are not those which are true in every situation; rather, they are those for which it is necessary that there is a situation making them true. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 5.2) | |
| A reaction: This seems to rest on the truthmaker view of such things, which I find quite attractive (despite Merricks's assault). Always ask what is making some truth necessary. This leads you to essences. |
| 5047 | The world is physically necessary, as its contrary would imply imperfection or moral absurdity [Leibniz] |
| Full Idea: Although the world is not metaphysically necessary, such that its contrary would imply a contradiction or logical absurdity, it is necessary physically, that is, determined in such a way that its contrary would imply imperfection or moral absurdity. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.139) | |
| A reaction: How does Leibniz know things like this? The distinction between 'metaphysical' necessity and 'natural' (what he calls 'physical') necessity is a key idea. But natural necessity is controversial. See 'Essentialism'. |
| 13239 | Judgement is always predicating a property of a subject [Beall/Restall] |
| Full Idea: All judgement, for Kant, is essentially the predication of some property to some subject. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.5) | |
| A reaction: Presumably the denial of a predicate could be a judgement, or the affirmation of ambiguous predicates? |
| 13248 | We can rest truth-conditions on situations, rather than on possible worlds [Beall/Restall] |
| Full Idea: Situation semantics is a variation of the truth-conditional approach, taking the salient unit of analysis not to be the possible world, or some complete consistent index, but rather the more modest 'situation'. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 5.5.4) | |
| A reaction: When I read Davidson (and implicitly Frege) this is what I always assumed was meant. The idea that worlds are meant has crept in to give truth conditions for modal statements. Hence situation semantics must cover modality. |
| 13233 | Propositions commit to content, and not to any way of spelling it out [Beall/Restall] |
| Full Idea: Our talk of propositions expresses commitment to the general notion of content, without a commitment to any particular way of spelling this out. | |
| From: JC Beall / G Restall (Logical Pluralism [2006], 2.1) | |
| A reaction: As a fan of propositions I like this. It leaves open the question of whether the content belongs to the mind or the language. Animals entertain propositions, say I. |
| 19343 | We follow the practical rule which always seeks maximum effect for minimum cost [Leibniz] |
| Full Idea: In practical affairs one always follows the decision rule in accordance with which one ought to seek the maximum or the minimum: namely, one prefers the maximum effect at the minimum cost, so to speak. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.150) | |
| A reaction: Animals probably do that too, and even water sort of obeys the rule when it runs downhill. |
| 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. |
| 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. |
| 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. |
| 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. |
| 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). |
| 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. |
| 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. |
| 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. |
| 19429 | The principle of determination in things obtains the greatest effect with the least effort [Leibniz] |
| Full Idea: There is always in things a principle of determination which is based on consideration of maximum and minimum, such that the greatest effect is obtained with the least, so to speak, expenditure. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.347) | |
| A reaction: This is obvious in human endeavours. Leibniz applied it to physics, producing a principle that shortest paths are always employed. It has a different formal name in modern physics, I think. He says if you make an unrestricted triangle, it is equilateral. |