7 ideas
| 17503 | Theories can never represent accurately, because their components are abstract [Cartwright,N, by Portides] |
| Full Idea: Cartwright objects that the claim that theories represent what happens in actual situations is to overlook that the concepts used in them (such as 'force functions' and 'Hamiltonians') are abstract. | |
| From: report of Nancy Cartwright (The Dappled World [1999]) by Demetris Portides - Models 'Current' | |
| A reaction: I'm not convinced by this. The term 'abstract' is too loose. In a sense most words are abstract because they are universals. If I say 'that's a cat', that is a very accurate remark, despite the generality of 'cat'. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 9111 | God is not wise, but more-than-wise; God is not good, but more-than-good [William of Ockham] |
| Full Idea: God is not wise, but more-than-wise; God is not good, but more-than-good. | |
| From: William of Ockham (Reportatio [1330], III Q viii) | |
| A reaction: [He is quoting 'Damascene'] I quote this for interest, but I very much doubt whether Damascene or William knew what it meant, and I certainly don't. There seems to have been a politically correct desire to invent super-powers for God. |
| 9112 | We could never form a concept of God's wisdom if we couldn't abstract it from creatures [William of Ockham] |
| Full Idea: What we abstract is said to belong to perfection in so far as it can be predicated of God and can stand for Him. For if such a concept could not be abstracted from a creature, then in this life we could not arrive at a cognition of God's wisdom. | |
| From: William of Ockham (Reportatio [1330], III Q viii) | |
| A reaction: This seems to be the germ of an important argument. Without the ability to abstract from what is experienced, we would not be able to apply general concepts to things which are beyond experience. It is a key idea for empiricism. |