Power and authority are not purely (as opposed to practically) rational justifications but are tools of the biased.
They are obviously not demonstrable to the unbiased, not matter how much the biased might beleive them to be.
Your reading skills are truly woeful if you are writing honestly here. I have said many time I hold some positions which are not demonstrable, just because they seem intuitively right to me. I have also said I think it is fine for others to do the same. I have also said that I see no reason to expect others to agree with me about my intuitively held beliefs.
They all have their different interpretations, which rather supports my point
Even gesturing at things is learned behavior.
"Things are as they are to us."
The idea is that "the rock" is a construct, a very useful and non-arbitrary and important one for us. But for all we know, God doesn't see it that way at all; perhaps God sees an astonishing interplay of quantum phenomena.
Do you really believe you know "what things are"?
That's why I call it "crude relativism," somewhat derisively, and contrast it with a relativism worth reading and thinking about. Yes, I suppose there are thinkers who don't mind contradiction, but if you've read any actual relativists, and especially people like Gadamer and Habermas and Bernstein who try find interpretive middle ground between totalizing critique and unworkable foundationalism, you see that the issue of contradiction is very much on their minds. The idea that relativism -- one of the most influential philosophical positions of the previous century -- was espoused by philosophers who "don't mind contradiction," just doesn't stand up under even a cursory reading of their work.
That is, crude relativism would assert this without apparently noticing that it's contradictory.
Of course being is not contained in language. Being is not contained in anything, and neither is language a container. Hence any any attempt to step outside of all language to describe being “as such” is suspect.
But this seems to be what you would do - supposing that there are ants prior to "There are ants" being true; and not temporally prior, but logically prior, as if it were not sentences that are true or false.
We can't stand outside of the interpretation that claims there are ants, in order to say there are ants outside of that interpretation...
We can't stand outside of the interpretation that claims there are ants, in order to say there are ants outside of that interpretation...
I think it's a little more radical than that. Consider any physical object - the ever-useful rock example, let's say. But now wait a minute . . . what makes it a solid object for us? Is being the discrete, solid thing that it appears to us to be a feature of "things as they are", which we have only to note and make true statements about?
Rather, isn't it the case that our particular needs and capacities as humans allow us to perceive and group items in the world according to categories like "discrete" and "solid"? This has nothing to do with whether they "really are" this or that. Now I'm not a proponent of anti-realism. For our purposes, certainly they are, and atoms are real, etc etc. My point is that we don't approach the world as a collection of neutral phenomena which hold still for us as we go on to discover what is true about them. We have a large role to play in constituting the phenomena we then say true things about. Again, this doesn't mean we make them up or that they could be any which way, or that the things we say aren't true. It means that "things as they are" should probably be reserved for a particular reductive conception of physics, and even there viewed with some doubt.
I could teach them how to add, ask them what the answer is to some new test cases and if they get the right answers, they show me they understand addition like I understand it. I know they get my idea of addition because they can add any new numbers up just like I would.
Personally, I think that if we're talking telos, we're talking transcendence.
I really think our previous conversations about ethics have gone into this thoroughly
Here's a false dilemma - that either there are truths prior (a loaded term) to humanity, or nothing was true until man's communities arose. Perhaps we can say truth is not invented by humans, but neither does it exist in some Platonic realm, independent of all interpretive conditions. Instead truths become available within human discourse—not arbitrarily, not as illusions, but as intelligible articulations of a world we are always already in relation with.
I understand that virtue ethics collapses this difference
Rats don't have ethics, humans do.
I'm having trouble understanding how that "something" would not transcend humans. Is the idea that we could discover such a telos by only studying humans as a species, the way anthropologists do? Or understanding humans' role in relation to other species and to the planet as a whole?
(Amity's dumbitdown version)
"individual identities" are what we are being sold, what we are told is important, and they are nothing else than the sum of the consumer choices we make. It follows that wealth is freedom. But consumer choices are not moral choices.
But it goes deeper: identities are not individual. Identities are necessarily external to the individual in origin and are interiorised by imposition or incorporation. To say that I am this or that, a philosopher or a buffoon, is to identify with a type, to join a club, and this, whether I say it or you do. Identification denies individuality. Race, gender, nationality, profession, football team, favourite shampoo, favourite philosopher, neurotype, there is nothing individual in any of it. Individuals are inexplicable, incomparable, unlimited, unique.
Well, because there is universal agreement on how to recognize and judge blue, and nothing similar in regard to beauty. But in any case, I see the context for the Hamlet quote, thanks.
But note: we can still judge and reject them, but we do so from our own perspective, not from some objective, godlike viewpoint.
But note: we can still judge and reject them, but we do so from our own perspective, not from some objective, godlike viewpoint.
We don't get access to some objective standpoint outside all human values.
And the question becomes, external to what? If the world is always, and already, in a context and a language, then there is nothing "external" to the interpretation.
↪J So for Tim the world is already divided up. Whereas for me the division is something we do, and re-do, as our understanding progresses.
And so I again throw the question back to Tim, why should we accept that your divisions are the absolute ones
↪Count Timothy von Icarus The world is always, already interpreted. It shows up for us through our practices, our language, our forms of life. To suggest otherwise is to appeal to a view-from-nowhere—a fantasy of access to the world prior to interpretation
So I have to ask: aren’t you smuggling in a theological or metaphysical assumption, something like a First Cause or transcendent source? Why suppose that beauty must have a ground outside human life—outside history, culture, or shared understanding?
Why does this need for an external “source” apply to aesthetic judgments in particular? Does language require a source beyond human life? Do games, rules, rituals, or cultural artefacts?
This need to find beauty’s origin “elsewhere” seems to rest on an unexamined assumption: that what’s meaningful or real must come from outside us. But why believe that?
I'd say there is no proper orientation towards the world.
I don't see how this follows. It feels like this is throwing the baby out with the bathwater. Just because something doesn't have a transcendent source doesn't mean it's nothing or we can readily reverse perspectives at will.
I think some of those views can be pigheaded attempts at objectivist dictatorialism, but that's people, right?
The notion that something can come from nothing is typically embraced by those invested in teleological arguments for transcendence.
Do you supose that that in order for beauty to be real, it must have a source, and that source must be outside human life? I don't agree. I'll throw the burden back to you to show that such a thing is needed.
But it's a false dilemma. Aesthetic claims - that the roast lamb in the oven as we speak, slow cooked with six veg, to be served with greens - is better than a Big Mac, is not just an expressions of feeling nor statements of fact—but an interpretation within a context of belief, intention, tradition, form, and reception. It arises as a triangulation of speaker, interpreter and dinner. It's not objective, but it's not relative, either. It is cultivated and critiqued, without requiring foundational aesthetic truths, because it is an integral part of a holistic web of taste that extends beyond the speaker and even beyond the interpreter into the world at large. Further, no such aesthetic scheme is incommensurable with other such schemes.
And the true order of going, or being led by another, to the things of love, is to begin from the beauties of earth and mount upwards for the sake of that other beauty, using these as steps only, and from one going on to two, and from two to all fair forms, and from fair forms to fair practices, and from fair practices to fair notions, until from fair notions he arrives at the notion of absolute beauty, and at last knows what the essence of beauty is.
Schindler first diagnoses why our modern condition is so poisonous. “[E]ncountering reality is a basic part of the meaning of human existence.” And, moreover, “there is something fundamentally good about this encounter with the world...."
In the transcendentals—beauty, goodness, and truth—man participates in and, in a real sense, “becomes what he knows.” Schindler maintains that rejecting the notion that the cosmos is true, good, and beautiful, “in its very being,” we are actually committing a gravely dehumanizing move. We are cutting ourselves off from the ability to experience reality at its deepest level. This means that the study and understanding of the transcendentals is not some abstraction, disconnected from everyday life. Rather, a proper understanding of the transcendentals allows one the deepest and most concrete access to the real...
Beauty
Schindler first tackles the transcendental of beauty. This is contrary to the order most frequently employed by the tradition. There are both philosophical and practical reasons for this, however. With respect to the latter, Schindler notes that if “our primary . . . access to reality comes through the windows or doors of our senses” this means that the “way we interpret beauty bears in a literally foundational way on our relationship to reality simply.”
Schindler rejects the notion that beauty is just in the eye of the beholder, that is has no connection to objective reality. Rather, “beauty is an encounter between the human soul and reality, which takes place in the ‘meeting ground,’ so to speak, of appearance.” And beauty is a privileged ground of encounter because it “involves our spirit and so our sense of transcendence, our sense of being elevated to something beyond ourselves—and at the very same time it appeals to our flesh, and so our most basic, natural instincts and drives.” By placing beauty first, one establishes the proper conditions for the “flourishing” of goodness and truth.
https://www.catholicworldreport.com/2019/05/08/the-intelligibility-of-reality-and-the-priority-to-love/
Schiller takes on board the notion he finds in Shaftesbury and Kant, that our response to beauty is distinct from desire; it is, to use the common term of the time, “disinterested”; just as it is also distinct, as Kant said as well, from the moral imperative in us. But then Schiller argues that the highest mode of being comes where the moral and the appetitive are perfectly aligned in us, where our action for the good is over-determined; and the response which expresses this alignment is just the proper response to beauty, what Schiller calls “play” (Spiel). We might even say that it is beauty which aligns us.11
This doctrine had a tremendous impact on the thinkers of the time; on Goethe (who was in a sense, one of its co-producers, in intensive exchange with Schiller), and on those we consider “Romantics” in the generally accepted sense. Beauty as the fullest form of unity, which was also the highest form of being, offers the definition of the true end of life; it is this which calls us to go beyond moralism, on one side, or a mere pursuit of enlightened interest, on the other. The Plato of the Symposium returns, but without the dualism and the sublimation.
From the standpoint of this anthropology of fusion and beauty, we can understand one of the central criticisms that the Romantic age levelled at the disengaged,
disciplined, buffered self, and the world it had built. Beauty required the harmonious fusion of moral aspiration and desire, hence of reason and appetite. The accusation against the dominant conceptions of disciplined self and rational order was that they had divided these, that they had demanded that reason repress, deny feeling; or alternatively, that they had divided us, confined us in a desiccating reason which had alienated us from our deeper emotions.
Charles Taylor - A Secular Age
I'm not sure I understand your point. My argument is that if artist A and B have conflicting opinions about what makes art good (say, maximalist vs minimalism), then that implies there isn't an objective correct answer.
A. People might have negative associations with a particular object of aesthetic judgement that are accidental (e.g. finding out that a family member has died as one hears a song might lead one to dislike that song).
B. Too much familiarity - we tend to ignore things we see frequently, to “tune them out.” For instance, someone who grows up in the desert might have trouble recognizing its particular beauty.
C. Too little familiarity - this problem occurs when we have no context to place an aesthetic experience within. If we have heard very little music, we might find jazz or a symphony overwhelming on a first exposure.
D We might be comparing similar, but different species. The most obvious example of this is the great apes. Their features look so human-like that it is hard to appreciate their beauty. For, rather than seeing a “beautiful orangutan,” we end up judging the creature by the standard of “man,” and all orangutans, no matter how fine a specimen, look like ugly men.
E Similarly, we might judge one member of a species less beautiful simply because we are accustomed to more beautiful members. I sometimes have this experience with March Madness because, while college basketball can often be more exciting than pro-ball, it is also a good deal less polished.
F Because beauty deals with wholes, it will tend to include context. A strange context can make an otherwise beautiful object look less beautiful. For instance, a masterpiece painting might nonetheless lose something if it were surrounded by blinking lights and gaudy decorations.
G Beauty is experienced first by the senses. However, the senses rely on proper conditions for interaction with the ambient environment and the object sensed. Nothing looks beautiful in a pitch black room. Nothing sounds beautiful with earplugs in. From these extremes, we can also recognize other cases where our experience of beauty may be affected in this way, e.g. “not enough light,” or “looking at a work of art from too far away/too close,” etc.
H Likewise, malfunctioning sense organs, or more general feelings of pain, anxiety, or illness can rob us of our aesthetic enjoyment of beautiful objects.
I A lack of aesthetic distance, as when we judge our own children’s art, can also cause us to overvalue or undervalue something’s beauty.
J Maturity is another important factor. One would not expect a three-year-old to appreciate Hamlet, though they might appreciate a colorful painting. Part of this gets back to the idea that context is involved in aesthetic appreciation, and this involves intellectual context as well. The intellectual context proper to some art might not be accessible to immature audiences. Likewise, sometimes we come to appreciate some works of art more once we understand their intellectual context, their allusions, their history, etc.
I would add that this “context sensitivity” can apply even to natural, sensuous beauty. In the High Peaks region of the Adirondacks, there are a number of small alpine lakes. These are quite lovely, and at first glance their crystal clear water, perfectly reflecting the surrounding mountains, is very beautiful. However, I later learned that these lakes were not always clear in this way, but have only become so due to acid rain, which upset the delicate ecosystem and essentially wiped out most of the life in these small lakes. This knowledge certainly doesn’t make the lakes ugly, yet it takes away from their beauty in the wider context of the landscape (i.e. they now seem like a “tear” or “blemish”).
K. Finally, there are individual tastes. These vary because we are each unique, but also because we have unique experiences and a unique mix of knowledge that colors the “intellectual context” of our experience of beauty. Sometimes, this sort of difficulty is raised first in a consideration of aesthetic objectivity. For example: “if experts disagree over Bach versus Beethoven, how can there be any objectivity?”
I think we can dismiss this sort of objection on the grounds that one does not make a rule from the most difficult edge cases. Some music might sound better to some ears. Likewise, depending on our particular history, we might find some literature more beautiful or more edifying. However, this hardly means that we cannot decide between Bach and the noise of road construction, between Beethoven and a child banging on a piano, or between Dante and poorly written pulp fiction.
Can you say more about why post-modern skepticism makes truth threatening?
Now if you will all excuse me a moment of embracing polemic... the move to "pragmatism all the way down," seems to come from two different angles:
On the one hand, you have Analytics who, burnt by incompleteness and undefinablity, decided that, since truth couldn't be defined to their satisfaction, it simply could not exist. The rules of their "games" were thus the ultimate measure of truth, and since they had very many games there must be very many truths, with no game to help them choose between them.
Elsewhere in the Analytic camp were those who became so committed to the idea of science as the "one true paradigm of knowledge," that they began to imagine that, if science couldn't explain consciousness, then consciousness (and thus conscience) must simply be done away with (i.e. eliminative materialism, which gets rid of the Good and the agent who might know it).
From the other side came Continentals who came to define freedom as pure potency and power, and so saw any definiteness as a threat to unlimited human liberty. On such a view, anything that stands outside man must always be a constriction on his freedom. Everything must be generated by the individual. Perhaps we can allow the world to "co-constitute" with us, but only if a sort of freedom and agency, which in the end is really "ours" anyhow, is given to the world.
The result is a sort of pincer move on the notions of Truth and Goodness (and we might add Beauty here too.) We might envisage the two armies of Isengaurd and Mordor. The first is motivated by belief that it cannot win. The second, by pure considerations of power, and so it assumes that everyone else must have the same motivations.
Where could I find this in Plato? This is the sort of thing that I tend to think Simpson neglects in his critique of liberalism.
Simpson would add that Rawls himself admits that he is incapable of adjudicating in favor of Western values over any other value system. His project is a working out of the axioms of Western values without being in any way able to justify those values. This is similar to Keys' point
That, or something very like it, is indeed the traditional argument for them. But, for many, what happened in Germany in the first half of the 20th century has more or less destroyed that argument. At the very least, we have to note that love of the humanities is not sufficient to prevent people going down some very wrong paths
This is a very strange debate. You seem to be arguing that the world is going to hell in a handbasket because of the dominance of liberalism. But I believe that the world is going to hell in a handbasket because of the increasing dominance of illiberal forces, some of which call themselves neo-liberal. We agree about something! On the other hand, I'm not sure there has ever been a time when the world wasn't going to hell in a handbasket. Certainly, not in the last three hundred years.
Yes. It is certainly true that the successes of liberalism in, let us say the 19th and 20th century were the result of deep commitment and dogged determination. So it is odd that you think that people of that kind are "thumos-phobic" (if I've understood what you mean by that correctly). Their positions were based on rational argument, so it is also odd that you think that they were "logos-sceptical" (If I've understood what you mean by that correctly)
The problem with it, for Plato at least, is that it needs to be directed correctly.
In any case, it seems to me that the widespread condemnation of epithumia is wrong-headed. Our appetites include things that are not merely pleasurable but essential. The problem arises when they are pursued to excess or in the wrong way.
On the other hand, I'm not sure there has ever been a time when the world wasn't going to hell in a handbasket. Certainly, not in the last three hundred years.
That Man is the product of causes which had no prevision of the end they were achieving; that his origin, his growth, his hopes and fears, his loves and his beliefs, are but the outcome of accidental collocations of atoms; that no fire, no heroism, no intensity of thought and feeling, can preserve an individual life beyond the grave; that all the labours of the ages, all the devotion, all the inspiration, all the noonday brightness of human genius, are destined to extinction in the vast death of the solar system, and that the whole temple of Man’s achievement must inevitably be buried beneath the débris of a universe in ruins—all these things, if not quite beyond dispute, are yet so nearly certain, that no philosophy which rejects them can hope to stand. Only within the scaffolding of these truths, only on the firm foundation of unyielding despair, can the soul’s habitation henceforth be safely built.
That's true. But the embrace of reasonableness was intended to avoid the necessity of storming beaches and resisting sieges, which were regarded as grossly uncivilized activities. Risks, by all means, but avoidance of barbarity as a priority.
. They perceived that those narratives involved a great deal of irrational myth-making, which could not stand up to a rational critique
That is certainly true. Are you suggesting that it is not a problem?
It was only in the 18th and 19th centuries that the status of the Humanities improved and became the mark of a civilized, cultivated person. This was a rational response to the improved market for an education for those who would never need to work.
After we came out of the church, we stood talking for some time together of Bishop Berkeley's ingenious sophistry to prove the non-existence of matter, and that every thing in the universe is merely ideal.I observed, that though we are satisfied his doctrine is not true, it is impossible to refute it. I never shall forget the alacrity with which Johnson answered, striking his foot with mighty force against a large stone, till he rebounded from it, "I refute it thus."
James Boswell, The Life of Samuel Johnson
This chapter is devoted to the narrative, situation of complex narrator-text or embedded focalization, NF1[F2Cx]. There is embedded (or secondary) focalization when the NF1 represents in the narrator-text the focalization of one of the characters. In other words, the NF1 temporarily hands over focalization (but not narration) to one of the characters, who functions as F2 and, thereby, takes a share in the presentation of the story. Recipient of the F2's focalization is a secondary focalizee (Fe2). (I. J. F. de Jong, Narrators and Focalizers. The Presentation of the Story in the Iliad [Amsterdam, 1987}, p. 101)
For a range of thinkers, from Wittgenstein and Husserl to Deleuze and Heidegger, the critique of grand narratives involves anything but skepticism concerning truth. That is to say, for them it is the belief in foundational truth that courts skepticism, and the way beyond such skepticism requires the invocation of a groundless ground, a non-foundational yet determinate notion of truth.
2) Again, pragmatism for me isn't about truth.
1) As I see it, "what do I do next" is the fundamental question.
I didn't say we should define truth in terms of usefulness. I don't remember bringing usefulness into this discussion at all. I said truth is a tool we use to help us decide how we should act.
Something else I didn't say.
