Combining Texts

All the ideas for 'Mahaprajnaparamitashastra', 'Aesthetics' and 'Grounding, Transitivity and Contrastivity'

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10 ideas

7. Existence / C. Structure of Existence / 1. Grounding / a. Nature of grounding
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.
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.
14. Science / D. Explanation / 2. Types of Explanation / b. Contrastive explanations
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.
21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics
Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner]
     Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity.
     From: Sebastian Gardner (Aesthetics [1995], Intro)
     A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts.
21. Aesthetics / B. Nature of Art / 7. Ontology of Art
Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner]
     Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object.
     From: Sebastian Gardner (Aesthetics [1995], 2.2)
     A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing.
21. Aesthetics / C. Artistic Issues / 5. Objectivism in Art
Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner]
     Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response.
     From: Sebastian Gardner (Aesthetics [1995], 1.2.3)
     A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you.
22. Metaethics / B. Value / 1. Nature of Value / d. Subjective value
Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner]
     Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance.
     From: Sebastian Gardner (Aesthetics [1995], 1.1)
     A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples.
23. Ethics / C. Virtue Theory / 3. Virtues / a. Virtues
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').
26. Natural Theory / A. Speculations on Nature / 1. Nature
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?
26. Natural Theory / C. Causation / 1. Causation
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.