12 ideas
| 3643 | The concept of mind excludes body, and vice versa [Descartes] |
| Full Idea: The concept of body includes nothing at all which belongs to the mind, and the concept of mind includes nothing at all which belongs to the body. | |
| From: René Descartes (Reply to Fourth Objections [1641], 225) | |
| A reaction: A headache? Hunger? The mistake, I think, is to regard the mind as entirely conscious, thus creating a sharp boundary between two aspects of our lives. As shown by blindsight, I take many of my central mental operations to be pre- or non-conscious. |
| 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. |
| 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? |
| 2850 | How can emotivists explain someone who recognises morality but is indifferent to it? [Brink] |
| Full Idea: It is not clear how the emotivist can accommodate the amoralist - one who recognises moral requirements but is indifferent to them. | |
| From: David O. Brink (Emotivism [1995], p.224) | |
| A reaction: Nietzsche recognised current morals, but was indifferent to them. It is hard to imagine, though, an amoralist who lacked all the feelings which imply morality. |
| 2848 | Two people might agree in their emotional moral attitude while disagreeing in their judgement [Brink] |
| Full Idea: Critics of emotivism claim that moral agreement need not track agreement in attitude; moralists with the same attitude can disagree in their views, and they can hold the same view while disagreeing in attitude. | |
| From: David O. Brink (Emotivism [1995], p.224) | |
| A reaction: Thus two racists can disagree about how racists should behave. Sounds like a good criticism. |
| 2851 | Emotivists find it hard to analyse assertions of moral principles, rather than actual judgements [Brink] |
| Full Idea: It is hard for the emotivist to give an analysis of the occurrence of moral ideas in unasserted contexts, such as "IF he did wrong, then he should be punished". | |
| From: David O. Brink (Emotivism [1995], p.224) | |
| A reaction: This is the 'Frege-Geach Problem'. |
| 2853 | Emotivists claim to explain moral motivation by basing morality on non-cognitive attitudes [Brink] |
| Full Idea: By stressing the intimate connection between moral judgements and the agent's non-cognitive attitudes, emotivists claim to capture the motivational properties of moral judgement. | |
| From: David O. Brink (Emotivism [1995], p.223) | |
| A reaction: The same claim is made by contractarians, who start from our universal self-interest. Emotivists also nicely capture the motivation properties of immoral judgements. |
| 2852 | Emotivists tend to favour a redundancy theory of truth, making moral judgement meaningless [Brink] |
| Full Idea: If you want to recognise the truth of some moral judgements, perhaps to make room for the possibility of moral mistakes, then one may not be satisfied with the emotivists' tendency to appeal to the redundancy theory of truth. | |
| From: David O. Brink (Emotivism [1995], p.224) | |
| A reaction: Probably thinking of Simon Blackburn. People who adopt a redundancy view of truth for semantics are left floundering when discussing what is true in the rest of philosophy. |
| 2849 | Emotivism implies relativism about moral meanings, but critics say disagreements are about moral reference [Brink] |
| Full Idea: Emotivism suggests that different feelings lead to different individual meanings for moral terms, but critics say that meanings are the same, and disagreement is about the extension (range of reference) of the terms. | |
| From: David O. Brink (Emotivism [1995], p.224) | |
| A reaction: It's hard to see how 'ought to p' could have quite different meanings for an emotivist and (say) a theistic moralist. 'Ought' is an obvious and simple word. Good criticism. |
| 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. |