Court jesters, deviants, and advocates of the devil
June 9th 2009 00:03
Wikipedia writes, about mediaeval comedians:
J Richard Hackman in an interview with Diane Coutu (Harvard Business Review, May 2009, pp 99-105), talks about how to make teams (in any context) work most efficiently -- and part of his thinking revolves around the deviant.
John Stuart Mill, at the end of the second chapter of On Liberty, gives four reasons for freedom of speech.
| In societies where freedom of speech was not recognized as a right, the court jester -- precisely because anything he said was by definition "a jest" and "the uttering of a fool" -- could speak frankly on controversial issues in a way in which anyone else would have been severely punished for. Monarchs understood the usefulness of having such a person at their side...
The Royal Shakespeare Company provides historical context for the role of the fool: "In ancient times courts employed fools and by the Middle Ages the jester was a familiar figure. In Renaissance times, aristocratic households in Britain employed licensed fools or jesters... Regarded as pets or mascots, they served not simply to amuse but to criticise their master or mistress and their guests. Queen Elizabeth (reigned 1558-1603) is said to have rebuked one of her fools for being insufficiently severe with her." |
***
J Richard Hackman in an interview with Diane Coutu (Harvard Business Review, May 2009, pp 99-105), talks about how to make teams (in any context) work most efficiently -- and part of his thinking revolves around the deviant.
| Every team needs a deviant, someone who can help the team by challenging the tendency to want too much homogeneity, which can stifle creativity and learning. Deviants are the ones who stand back and say, "Well, wait a minute, why are we even doing this at all? What if we looked at the thing backwards or turned it inside out?"... In our research, we've looked carefully at both teams that produced something original and those that were merely average, where nothing sparkled. It turned out that the teams with deviants outperformed teams without them. |
The article goes on to include a piece by Michael Beschloss on Obama's choice of officials, noting the appointments of Hilary Clinton (a former opponent) as secretary of state, and Robert Gates (a Republican) as defense secretary. Beschloss writes:
| Of course, Obama is taking a risk by hiring so many strong and contentious personalities. He will inevitably have to spend a lot of time and energy serving as referee. This is what happened with Franklin Roosevelt, who also brought strong-minded figures into his government... FDR temperamentally loved the infighting. He liked to pit people against one another, believing that competition evoked the best performance from everyone. |
***
John Stuart Mill, at the end of the second chapter of On Liberty, gives four reasons for freedom of speech.
- Dissenting opinions might well be true, and we shouldn't assume our own infallibility.
- Dissenting opinions that are false might still contain a portion of the truth. Mainstream opinions are rarely the entire truth, and it's only by the collision of dissenting with mainstream that the whole truth has any chance of emerging.
- Even if a mainstream opinion is the entire truth, it will amount to an irrational prejudice unless it's vigorously contested. People won't know the reasons for it.
- Dissenting opinions can make a true mainstream opinion more vital. In the process of arguing for the mainstream opinion, you become aware of what's at stake, what the meaning of that opinion is, etc.
Mill writes, for instance:
| If there are any persons who contest a received opinion, or who will do so if law or opinion will let them, let us thank them for it, open our minds to listen to them, and rejoice that there is some one to do for us what we otherwise ought, if we have any regard for either the certainty or the vitality of our convictions, to do with much greater labour for ourselves. |
And:
| The most intolerant of churches, the Roman Catholic Church, even at the canonisation of a saint, admits, and listens patiently to, a "devil's advocate." The holiest of men, it appears, cannot be admitted to posthumous honours, until all that the devil could say against him is known and weighed... The beliefs which we have most warrant for have no safeguard to rest on, but a standing invitation to the whole world to prove them unfounded. If the challenge is not accepted, or is accepted and the attempt fails, we are far enough from certainty still; but we have done the best that the existing state of human reason admits of... This is the amount of certainty attainable by a fallible being, and this the sole way of attaining it. |
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Philosophy bites: September 2007 (part 1) -- Philosophy as art, etc
April 27th 2009 22:15
Some of the points I found interesting in the September 2007 podcasts.
Tim Crane on Mind and Body
Crane is skeptical of searching for a neural correlate of consciousness, on the grounds that we don't know for sure whether consciousness is a unified thing. We don't know what we're trying to explain. The questions we're asking might be a matter of confusion rather than ignorance. The sort of consciousness we have while dreaming might be difference from the consciousness we have while day-dreaming, which might be different from our consciousness when fully awake.
Mary Warnock on Sartre's Existentialism
What mainly interested me was Warburton asking Warnock about Sartrean ethics. Is it a selfish ethics? What does she think of the way, in the lecture/essay "Existentialism is a humanism", Sartre builds in social responsibility?
I'll make a few notes about this in the next post.
Brad Hooker on Consequentialism
* Everyday moral intuitions about right and wrong are sometimes contradictory, and often leave you unsure as to what choice, in any given situation, is the "right" one. So a lot of people have tried to systematize these intuitions -- to create a code with clear instructions, to find what principles, if any, lie behind our intuitions, and to work out a way to satisfy as many intuitions as possible. Perhaps our intuitions are coherent as they are; or perhaps some need to be modified or even thrown away to get a best overall fit. (This understanding of what's going on is often described as Rawlsian.)
There are plenty of candidate ethical systems, but one way to categorize them is: deontological, duty-based ethics, which basically believe in rules, rights, obligations (for instance, Christianity is a form of deontological ethics); virtue ethics, which place emphasis on developing virtuous people -- perhaps any question about rules can be sidestepped; and consequentialist ethics (like utilitarianism), which believe you should weigh up consequences when deciding what to do.
* But at what level should consequentialism make decisions -- should it stop and calculate the good and bad at the level of each action, at the level of rules and general guidelines, or at the level of social institutions?
Hooker believes in some form of rule consequentialism -- what we should do, morally, is follow rules; but the ultimate justification for those rules is that they lead to the best consequences; such consequences, on Hooker's approach, would include happiness, but there are also other goods.
* How do you figure out which rules to follow? Hooker accepts that it's difficult to calculate. So he would "back off to a modest, incrementalist position" -- just stick with established social rules, unless you can identify an improvement.
* Hooker remarks that we have moral intutions about how demanding morality should be. This is also a factor in working out any moral system.
* He goes on to note that, for consequentialism in particular, there are also costs, difficulties in getting people to internalize a new rule -- emotional costs, teaching costs, impacts on relationships... At some point, the costs of getting people to accept a more demanding rule would outweigh the benefits of possessing that rule.
* Main issue that interests me is moral intuitions. If you're going to claim that the point of the game is to systematize intuitions, and this is what the various systems are fighting over, the obvious question is why anyone should care about intuitions at all, particularly if you don't believe in "moral sense" theory, where intuitions are supposed to be perceptions of moral realities. Thus Peter Singer remarks on trolley problems and the gap between rationality and evolutionary instinct, and Michael Devitt attacks intuitions about language on the basis that people aren't necessarily the best judges of what they're doing, a good tennis player isn't necessarily a good tennis coach, corpus evidence, empirical data, count for more than feeling.
So why care about intutions? Well, one answer I've suggested goes like this.
There are different theories of the good life, including various objective list theories (a good life contains x, y, z -- friendship, aesthetic enjoyment, God, whatever...), and various theories that are basically objective lists with one main item -- hedonisms (a good life is one where good states of mind are maximized), desire fulfilment theories (a good life maximizes satisfaction of desire), narrative theories (a good life is one whose overall shape forms some sort of unity).
Intuition-based ethics are arguably dependent on one of these theories.
-- You could say that satisfying common sense moral intuitions is an item on an objective list (one can put anything on an objective list).
-- You could talk about the conscious satisfaction, the happiness, from behaving morally -- and this seems to be the route that Peter Singer goes down. -- Why behave morally at all? Because, says Singer, it's an element, for many people, of living a meaningful life.
-- You could treat each moral intuition as itself a desire wanting fulfilment; or you could postulate a "metadesire" to be a moral person, or to maximally satisfy or systematize all of one's intuitions.
-- You could treat behaving morally as open to aesthetic evaluation -- perhaps a moral life is a beautiful life, or is an important part of one.
Jonathan Ree on Philosophy as an Art
* One theme of this interview is that philosophy is a "vast tradition" -- it extends over a long time, and across cultures -- but in the 20th century it's confined in the little glass houses that are philosophy departments, produced for a very small number of people, and the role of philosopher has been narrowed to "bullshit detector".
* Ree thinks the proper response shouldn't be "What you're saying is nonsense; stop talking", but "That's interesting. You're trying to say something. Let's work out what it is". Philosophy shouldn't be an exercise in closing your ears.
* Against the idea of philosophy as transmission of truth, Ree remarks on:
-- Kierkegaard's books not as statements of doctrine but as experiments -- what if you thought about this like this, what if you told the story like this;
-- teaching with a sense of dialogue between teacher and student (Socrates, Kierkegaard). What painters learn from Cezanne is anxiety, said Picasso -- not technique as such. What one should instil is the practice of slowing down a bit; one needs to teach not only the ideas, but also the space around the ideas. Wittgenstein is said to instil an anxiety.
* In what sense is philosophy art? The main factor Ree points to is not stylistic beauty sentence by sentence, but "symphonic architecture". It's a fault of academic philosophy, says Ree, that it focuses on small-scale arguments. After Ree became obsessed with Wagner and grasped the idea that you're meant to sit for four or five days to take in the whole meaning of a musical work, then he better understood Spinoza's Ethics, Wittgenstein's Tractatus, Hegel's Phenomenology, Descartes' Meditations.
The two claims here might be:
-- There is "beauty, magnificence, truth" that can arise on a larger scale.
-- There is an journey that you're being invited to go on as you read through these works. (Just as reading this blog is the journey of becoming very tired, then falling asleep.)
* A few things I want to write in response.
Firstly, an anecdote that seems to me connected with "symphonic architecture". I think it was Wilfrid Sellars who required that his thesis students, when writing about a philosopher, read all the writings of that philosopher. I don't know the reason he gave, but there's lots of holism sense that could be supplied. If you think that beliefs and arguments travel in groups, supporting each other, then to appreciate the impact of a claim, and the reasoning behind it, you can't look at the claim in isolation.
Another way to approach this is via the idea of context. People complain about being quoted "out of context". But if one is searching for wider context to better grasp meaning, then the circles expand and expand -- the sentence conditions the meaning of the word; the paragraph conditions the sentence; the chapter conditions the paragraph; the book conditions the chapter; the opus conditions the book; the intellectual environment conditions the opus...
Secondly, here's a list (probably fairly obvious and certainly non-exhaustive) of ways in which I think philosophy might be arty (or art might be philosophical):
-- Aesthetic qualities. Philosophy is open to aesthetic evaluation, to being described in aesthetic terms, to evoking aesthetic responses. Thus one can speak of a "beautiful proof" in mathematics. Or Lolita speaks of Clare Quilty as having a "beautiful Eastern philosophy of life".
-- Form and style. The expression can be self-consciously literary, from pleasing stylistics and rhetorical devices, to overall form -- dialogues (eg Hume, Plato), aphorisms (Nietzsche, Schopenhauer), essays (Montaigne), poetry (Lucretius), novels (Sartre, Camus), etc.
-- Human content. Much of philosophy has a human focus in a way that mathematics or exploration of the natural world don't. I think not just of ethics, or philosophies concerned with human phenomena -- mind, knowledge, beauty... -- but also of the way that a lot of philosophy operates on natural language and concepts, requiring a sensitivity to words, meanings, ideas, sensations.
-- Self-expression. As with Sellars, one could understand a philosophy as embodying a perspective on the world, as having the mark of its author's life and personality, including his or her prejudices and fears and obsessions. More broadly, historians frequently understand philosophies as cultural artifacts expressive of an epoch.
This expressive dimension is probably particularly obvious in some types of phenomenological philosophy, where you're trying to describe an experience and say something about the structure of it. The difference between such philosophy and literature might be that you're attempting this in a systematic way, or that you're relating your findings to particular theories.
-- Skill. "Art" in origin means "skill", and we often speak of highly proficient people in this way -- Roger Federer has refined tennis to the level of an art. There's any number of possible qualities people have in mind, including more traditional aesthetic qualities (what it means for cooking to be an art is partly for food to be prepared with attention to its perceptual dimensions). But a common idea in art-as-skill is the ability to do difficult things whilst making them look easy -- so one might talk about grace, control, precision, economy; surprising moves, or feats with a very low probability of success; and innovation, and mastery of the fundamentals to such an extent that the person is operating in a different airspace from everyone else, is now grappling with different problems.
Well, there's lots of skills involved in philosophy, from mastery of the tradition of philosophy, to language skills (comprehension, interpretation, expression -- navigating within the vagaries of words), to analysis, reasoning, argumentation skills (there's plenty of "familiar moves" in arguments; Alan Hajek speaks of heuristics in philosophy, particularly in terms of finding counterarguments, and compares them to heuristics in chess).
There are also skills in teaching philosophy -- knowing how to press your students' buttons, encouraging them to be inquisitive, rational and open, making them appreciate the force of a problem, etc.
-- Creativity. There are skills and rules of thumb, certainly, as in painting, but the composition of philosophy involves frequent jumps, insights, inspirations, free associations, improvisations; it can't be reduced to method or hack work. You can't use brute force computation to break a problem, but there's rather a sort of tentative exploration, trying different perspectives on a problem, different routes to answering it.
John Searle once spoke as philosophy as a sort of pre-science -- it's what you do when a method hasn't been agreed on. Once a method is generally agreed upon, that question breaks off from philosophy and becomes physics, or psychology, or economics...
***
Tim Crane on Mind and Body
Crane is skeptical of searching for a neural correlate of consciousness, on the grounds that we don't know for sure whether consciousness is a unified thing. We don't know what we're trying to explain. The questions we're asking might be a matter of confusion rather than ignorance. The sort of consciousness we have while dreaming might be difference from the consciousness we have while day-dreaming, which might be different from our consciousness when fully awake.
Mary Warnock on Sartre's Existentialism
What mainly interested me was Warburton asking Warnock about Sartrean ethics. Is it a selfish ethics? What does she think of the way, in the lecture/essay "Existentialism is a humanism", Sartre builds in social responsibility?
I'll make a few notes about this in the next post.
Brad Hooker on Consequentialism
* Everyday moral intuitions about right and wrong are sometimes contradictory, and often leave you unsure as to what choice, in any given situation, is the "right" one. So a lot of people have tried to systematize these intuitions -- to create a code with clear instructions, to find what principles, if any, lie behind our intuitions, and to work out a way to satisfy as many intuitions as possible. Perhaps our intuitions are coherent as they are; or perhaps some need to be modified or even thrown away to get a best overall fit. (This understanding of what's going on is often described as Rawlsian.)
There are plenty of candidate ethical systems, but one way to categorize them is: deontological, duty-based ethics, which basically believe in rules, rights, obligations (for instance, Christianity is a form of deontological ethics); virtue ethics, which place emphasis on developing virtuous people -- perhaps any question about rules can be sidestepped; and consequentialist ethics (like utilitarianism), which believe you should weigh up consequences when deciding what to do.
* But at what level should consequentialism make decisions -- should it stop and calculate the good and bad at the level of each action, at the level of rules and general guidelines, or at the level of social institutions?
Hooker believes in some form of rule consequentialism -- what we should do, morally, is follow rules; but the ultimate justification for those rules is that they lead to the best consequences; such consequences, on Hooker's approach, would include happiness, but there are also other goods.
* How do you figure out which rules to follow? Hooker accepts that it's difficult to calculate. So he would "back off to a modest, incrementalist position" -- just stick with established social rules, unless you can identify an improvement.
* Hooker remarks that we have moral intutions about how demanding morality should be. This is also a factor in working out any moral system.
* He goes on to note that, for consequentialism in particular, there are also costs, difficulties in getting people to internalize a new rule -- emotional costs, teaching costs, impacts on relationships... At some point, the costs of getting people to accept a more demanding rule would outweigh the benefits of possessing that rule.
* Main issue that interests me is moral intuitions. If you're going to claim that the point of the game is to systematize intuitions, and this is what the various systems are fighting over, the obvious question is why anyone should care about intuitions at all, particularly if you don't believe in "moral sense" theory, where intuitions are supposed to be perceptions of moral realities. Thus Peter Singer remarks on trolley problems and the gap between rationality and evolutionary instinct, and Michael Devitt attacks intuitions about language on the basis that people aren't necessarily the best judges of what they're doing, a good tennis player isn't necessarily a good tennis coach, corpus evidence, empirical data, count for more than feeling.
So why care about intutions? Well, one answer I've suggested goes like this.
There are different theories of the good life, including various objective list theories (a good life contains x, y, z -- friendship, aesthetic enjoyment, God, whatever...), and various theories that are basically objective lists with one main item -- hedonisms (a good life is one where good states of mind are maximized), desire fulfilment theories (a good life maximizes satisfaction of desire), narrative theories (a good life is one whose overall shape forms some sort of unity).
Intuition-based ethics are arguably dependent on one of these theories.
-- You could say that satisfying common sense moral intuitions is an item on an objective list (one can put anything on an objective list).
-- You could talk about the conscious satisfaction, the happiness, from behaving morally -- and this seems to be the route that Peter Singer goes down. -- Why behave morally at all? Because, says Singer, it's an element, for many people, of living a meaningful life.
-- You could treat each moral intuition as itself a desire wanting fulfilment; or you could postulate a "metadesire" to be a moral person, or to maximally satisfy or systematize all of one's intuitions.
-- You could treat behaving morally as open to aesthetic evaluation -- perhaps a moral life is a beautiful life, or is an important part of one.
Jonathan Ree on Philosophy as an Art
* One theme of this interview is that philosophy is a "vast tradition" -- it extends over a long time, and across cultures -- but in the 20th century it's confined in the little glass houses that are philosophy departments, produced for a very small number of people, and the role of philosopher has been narrowed to "bullshit detector".
* Ree thinks the proper response shouldn't be "What you're saying is nonsense; stop talking", but "That's interesting. You're trying to say something. Let's work out what it is". Philosophy shouldn't be an exercise in closing your ears.
* Against the idea of philosophy as transmission of truth, Ree remarks on:
-- Kierkegaard's books not as statements of doctrine but as experiments -- what if you thought about this like this, what if you told the story like this;
-- teaching with a sense of dialogue between teacher and student (Socrates, Kierkegaard). What painters learn from Cezanne is anxiety, said Picasso -- not technique as such. What one should instil is the practice of slowing down a bit; one needs to teach not only the ideas, but also the space around the ideas. Wittgenstein is said to instil an anxiety.
* In what sense is philosophy art? The main factor Ree points to is not stylistic beauty sentence by sentence, but "symphonic architecture". It's a fault of academic philosophy, says Ree, that it focuses on small-scale arguments. After Ree became obsessed with Wagner and grasped the idea that you're meant to sit for four or five days to take in the whole meaning of a musical work, then he better understood Spinoza's Ethics, Wittgenstein's Tractatus, Hegel's Phenomenology, Descartes' Meditations.
The two claims here might be:
-- There is "beauty, magnificence, truth" that can arise on a larger scale.
-- There is an journey that you're being invited to go on as you read through these works. (Just as reading this blog is the journey of becoming very tired, then falling asleep.)
* A few things I want to write in response.
Firstly, an anecdote that seems to me connected with "symphonic architecture". I think it was Wilfrid Sellars who required that his thesis students, when writing about a philosopher, read all the writings of that philosopher. I don't know the reason he gave, but there's lots of holism sense that could be supplied. If you think that beliefs and arguments travel in groups, supporting each other, then to appreciate the impact of a claim, and the reasoning behind it, you can't look at the claim in isolation.
Another way to approach this is via the idea of context. People complain about being quoted "out of context". But if one is searching for wider context to better grasp meaning, then the circles expand and expand -- the sentence conditions the meaning of the word; the paragraph conditions the sentence; the chapter conditions the paragraph; the book conditions the chapter; the opus conditions the book; the intellectual environment conditions the opus...
Secondly, here's a list (probably fairly obvious and certainly non-exhaustive) of ways in which I think philosophy might be arty (or art might be philosophical):
-- Aesthetic qualities. Philosophy is open to aesthetic evaluation, to being described in aesthetic terms, to evoking aesthetic responses. Thus one can speak of a "beautiful proof" in mathematics. Or Lolita speaks of Clare Quilty as having a "beautiful Eastern philosophy of life".
-- Form and style. The expression can be self-consciously literary, from pleasing stylistics and rhetorical devices, to overall form -- dialogues (eg Hume, Plato), aphorisms (Nietzsche, Schopenhauer), essays (Montaigne), poetry (Lucretius), novels (Sartre, Camus), etc.
-- Human content. Much of philosophy has a human focus in a way that mathematics or exploration of the natural world don't. I think not just of ethics, or philosophies concerned with human phenomena -- mind, knowledge, beauty... -- but also of the way that a lot of philosophy operates on natural language and concepts, requiring a sensitivity to words, meanings, ideas, sensations.
-- Self-expression. As with Sellars, one could understand a philosophy as embodying a perspective on the world, as having the mark of its author's life and personality, including his or her prejudices and fears and obsessions. More broadly, historians frequently understand philosophies as cultural artifacts expressive of an epoch.
This expressive dimension is probably particularly obvious in some types of phenomenological philosophy, where you're trying to describe an experience and say something about the structure of it. The difference between such philosophy and literature might be that you're attempting this in a systematic way, or that you're relating your findings to particular theories.
-- Skill. "Art" in origin means "skill", and we often speak of highly proficient people in this way -- Roger Federer has refined tennis to the level of an art. There's any number of possible qualities people have in mind, including more traditional aesthetic qualities (what it means for cooking to be an art is partly for food to be prepared with attention to its perceptual dimensions). But a common idea in art-as-skill is the ability to do difficult things whilst making them look easy -- so one might talk about grace, control, precision, economy; surprising moves, or feats with a very low probability of success; and innovation, and mastery of the fundamentals to such an extent that the person is operating in a different airspace from everyone else, is now grappling with different problems.
Well, there's lots of skills involved in philosophy, from mastery of the tradition of philosophy, to language skills (comprehension, interpretation, expression -- navigating within the vagaries of words), to analysis, reasoning, argumentation skills (there's plenty of "familiar moves" in arguments; Alan Hajek speaks of heuristics in philosophy, particularly in terms of finding counterarguments, and compares them to heuristics in chess).
There are also skills in teaching philosophy -- knowing how to press your students' buttons, encouraging them to be inquisitive, rational and open, making them appreciate the force of a problem, etc.
-- Creativity. There are skills and rules of thumb, certainly, as in painting, but the composition of philosophy involves frequent jumps, insights, inspirations, free associations, improvisations; it can't be reduced to method or hack work. You can't use brute force computation to break a problem, but there's rather a sort of tentative exploration, trying different perspectives on a problem, different routes to answering it.
John Searle once spoke as philosophy as a sort of pre-science -- it's what you do when a method hasn't been agreed on. Once a method is generally agreed upon, that question breaks off from philosophy and becomes physics, or psychology, or economics...
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| Vote |
Good sense of humour
April 25th 2009 08:01
We have five basic senses, but people speak also of a "sense of humour", "sense of self", etc -- there's countless "senses" really.
When you say that so-and-so has a good sense of humour, what you probably mean is "Their sense of humour agrees with mine -- they laugh at the things I find funny" (cf good judgement, good taste...). So in this respect a GSOH isn't so different from good eyesight -- it's a question of perceiving aright.
But it isn't just perceiving. "GSOH" could have plenty of other implications -- that the person can tell jokes as well as recognize them, that they have an appreciation of quality jokes, that they laugh frequently, that they're optimistic, that they don't take themselves or life too seriously, that they can be the butt of a joke without raging, and so forth.
What you have is a nexus of qualities, abilities, skills related to perceiving. "GSOH" comments on personality in a way that "good eyesight" doesn't.
The word "sense" here is closer to "sensibility", "mentality". To say that someone has a "Victorian sensibility" means that they view the world a certain way, they have certain (moral) beliefs, aesthetic values, prejudices, they're inclined to react in certain ways...
When you say that so-and-so has a good sense of humour, what you probably mean is "Their sense of humour agrees with mine -- they laugh at the things I find funny" (cf good judgement, good taste...). So in this respect a GSOH isn't so different from good eyesight -- it's a question of perceiving aright.
But it isn't just perceiving. "GSOH" could have plenty of other implications -- that the person can tell jokes as well as recognize them, that they have an appreciation of quality jokes, that they laugh frequently, that they're optimistic, that they don't take themselves or life too seriously, that they can be the butt of a joke without raging, and so forth.
What you have is a nexus of qualities, abilities, skills related to perceiving. "GSOH" comments on personality in a way that "good eyesight" doesn't.
The word "sense" here is closer to "sensibility", "mentality". To say that someone has a "Victorian sensibility" means that they view the world a certain way, they have certain (moral) beliefs, aesthetic values, prejudices, they're inclined to react in certain ways...
| 23 |
| Vote |
Types of belief
April 21st 2009 23:20
I've written about this in the past, but here it is again.
Catholics have a verbal formula called the Apostles' Creed. It's used at baptisms, and, depending on your church, sometimes as part of masses and other ceremonies[ Click here to read more ]
Catholics have a verbal formula called the Apostles' Creed. It's used at baptisms, and, depending on your church, sometimes as part of masses and other ceremonies
| 34 |
| Vote |
Should Darren have won?
April 21st 2009 04:46
Darren is working his butt off training for a race. And not only does he work his butt off, but he's an amazing person -- he's kind, generous, and likes babies and small animals. And not only is he an amazing person, but winning the race would mean a lot to him. He could get an athletics scholarship, the girl he likes would finally notice him, his mother dying of cancer would see her dreams fulfilled, etc.
So Darren enters the race -- and he loses -- to the school bully, who not only is an asshole, but also didn't put an ounce of sweat into training -- he was just born with good genes. The victory means nothing to him, except another opportunity to laugh at Darren[ Click here to read more ]
So Darren enters the race -- and he loses -- to the school bully, who not only is an asshole, but also didn't put an ounce of sweat into training -- he was just born with good genes. The victory means nothing to him, except another opportunity to laugh at Darren
| 47 |
| Vote |
Relativism
April 20th 2009 06:26
The relativism I'm thinking about goes:
"The truth or falsity of all moral assertions (apart from this one) is relative to the moral codes of particular groups or persons[ Click here to read more ]
"The truth or falsity of all moral assertions (apart from this one) is relative to the moral codes of particular groups or persons
| 34 |
| Vote |
Wrong expectations
April 19th 2009 05:34
Two examples.
1. You want simply to build a shelf, it doesn't matter what type, it's just a temporary, makeshift shelf to hold some equipment, and your friend knows this. So you're nailing planks together, when your friend turns to you and says, "That's the wrong way to do it." You ask why. He answers, "You're nailing in the wrong place. It's more secure if you nail a little to the left[ Click here to read more ]
1. You want simply to build a shelf, it doesn't matter what type, it's just a temporary, makeshift shelf to hold some equipment, and your friend knows this. So you're nailing planks together, when your friend turns to you and says, "That's the wrong way to do it." You ask why. He answers, "You're nailing in the wrong place. It's more secure if you nail a little to the left
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| Vote |
Philosophy bites: August 2007
April 18th 2009 05:24
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Philosophy bites: July 2007
April 14th 2009 12:38
Some of the points I found interesting or thought-provoking from the July 2007 podcasts.
[ Click here to read more ]
***
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Philosophy bites: June 2007
April 5th 2009 02:06
Recently discovered a great series of philosophy podcasts, "Philosophy Bites". So from now until the end of the year, I'll make a few notes each week on what I've been listening to.
Here are some of the shows from June 2007
[ Click here to read more ]
Here are some of the shows from June 2007
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Comment by Nonymous
on Taking a brief break (plus some thoughts on Matthew Johns)
Philosophy Blog
I've been following news on this case as well. The main thing that interests me is the notion of consent.
Three issues: --
1. How do you evaluate consent (legally or morally speaking)? And how black-and-white was this case?
Legally, Johns was cleared.
But in contract law (for instance), if you enter into an agreement while you're drunk, on drugs, or temporarily insane, that might invalidate the contract.
If there was a lot of alcohol involved in the Matt Johns incident, surely this is grey areas, and evaluation of consent is going to be messy?
2. Putting aside legality, is Johns morally in the clear? What counts as "consent" in a moral (rather than legal) sense?
If the moral conception is different from the legal conception, should the legal concept be modified to better reflect the everyday understanding?
Early writers on liberty and freedom talked about situations in which people were not free, and they included not only obvious restrictions on freedom (for instance, when you're a chained slave), but various "seductions" and "coercions of the will". So if someone threatens you or fast talks you, then in a sense you haven't acted freely.
In the Four Corners report, Clare talked about psychological presure. And I think, regardless of whether you believe her or not, everyone can sympathize with being pressured into doing something you didn't really want to do.
3. Even if you haven't committed a crime, and even if there was consent, is what you're doing moral? Is everything that happens between two consenting adults moral?
Many people seem to hold the view that, in general, you're responsible for damage you cause. Take the situation where you're playing cricket in your backyard, and you knock a ball through a neighbour's glass window. It was an accident -- you didn't intend the damage, and it might not even have been foreseeable -- but morally and legally the neighbour still has a claim against you.
So if Clare has suffered damage from the 2002 incident, are the players responsible for that, regardless of consent? Or does consent free them of any responsibility?