14 ideas
| 16052 | 'Superdupervenience' is supervenience that has a robustly materialistic explanation [Horgan,T] |
| Full Idea: The idea of a ontological supervenience that is robustly explainable in a materialistically explainable way I hereby dub 'superdupervenience'. | |
| From: Terence Horgan (From Supervenience to Superdupervenience [1993], §4) | |
| A reaction: [He credits William Lycan with the actual word] His assumption prior to this introduction is that mere supervenience just adds a new mystery. I take supervenience to be an observation of 'tracking', which presumably needs to be explained. |
| 16053 | 'Global' supervenience is facts tracking varying physical facts in every possible world [Horgan,T] |
| Full Idea: The idea of 'global supervenience' is standardly expressed as 'there are no two physically possible worlds which are exactly alike in all physical respects but different in some other respect'. | |
| From: Terence Horgan (From Supervenience to Superdupervenience [1993], §5) | |
| A reaction: [Jaegwon Kim is the source of this concept] The 'local' view will be that they do indeed track, but they could, in principle, come apart. A zombie might be a case of them possibly coming apart. Zombies are silly. |
| 16056 | Don't just observe supervenience - explain it! [Horgan,T] |
| Full Idea: Although the task of explaining supervenience has been little appreciated and little discussed in the philosophical literature, it is time for that to change. | |
| From: Terence Horgan (From Supervenience to Superdupervenience [1993], §8) | |
| A reaction: I would offer a strong addition to this: be absolutely sure that you are dealing with two distinct things in the supervenience relationship, before you waste time trying to explain how they relate to one another. |
| 16054 | Physicalism needs more than global supervenience on the physical [Horgan,T] |
| Full Idea: Global supervenience seems too weak to capture the physical facts determining all the facts. …There could be two spatio-temporal regions alike in all physical respects, but different in some intrinsic non-physical respect. | |
| From: Terence Horgan (From Supervenience to Superdupervenience [1993], §5) | |
| A reaction: I.e. there might be two physically identical regions, but one contains angels and the other doesn't (so the extra fact isn't tracking the physical facts). Physicalism I take to be the simple denial of the angels. Supervenience is an explanandum. |
| 16055 | Materialism requires that physics be causally complete [Horgan,T] |
| Full Idea: Any broadly materialistic metaphysical position needs to claim that physics is causally complete. | |
| From: Terence Horgan (From Supervenience to Superdupervenience [1993], §6) | |
| A reaction: Since 'physics' is a human creation, I presume he means that physical reality is causally complete. The interaction problem that faced Descartes seems crucial - how could something utterly non-physical effect a physical change? |
| 16057 | Instrumentalism normally says some discourse is useful, but not genuinely true [Horgan,T] |
| Full Idea: Instrumentalist views typically attribute utility to the given body of discourse, but deny that it expresses genuine truths. | |
| From: Terence Horgan (From Supervenience to Superdupervenience [1993], §8) | |
| A reaction: To me it is obvious to ask why anything could have a high level of utility (especially in accounts of the external physical world) without being true. Falsehoods may sometimes (though I doubt it) be handy in human life, but useful in chemistry…? |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |