Thursday, February 25, 2010
Monday, February 22, 2010
State of Nature
By Hanno
Dr. Thomason suggested that one way Kant can answer the Gestapo problem [that on Kant's view, it is immoral to lie to the Gestapo even to save innocent lives, which appears to be a reductio, since it obviously is not only moral, but morally praiseworthy] was by claiming that people in Nazi germany were in effect living in a state of nature, and in the state of nature, there are no moral rules. Such a view has a long history, but it is not usually associated with Kant. Kant famously insists that morality is contextless, absolute duty, that applies everywhere all the time. Dr. Thomason is arguing that the usual interpretations are incorrect.
An essential feature of almost all conceptions of morality that descended from the Greeks [and that includes every major philosopher in the West through Nietzsche] is that morality is rational. One ought to act morally because it is rational to act morally. Unless you are an anti-moralist, or an anti-rationalist, there is good reason to accept this view: to deny it is to somehow make it that you ought to do something that literally makes no sense. Morality would be indistinguishable from taboo, and the answer to the question: why should I be moral? would get the answer: no reason. It is easy to see that such a view would immediately undercut any motive to be moral, and since morality is frequently burdensome [where it is not, there is no need for it], people would simply walk away from all talk of moral duty.
That kind of view, possible after Nietzsche, but at a price, was never an option before. Instead, Plato, Aristotle, Hobbes, Locke, Rousseau, Hume, and Kant, etc., etc., all agree that an action is good if and only if it is rational, and if something is moral then it must be good.
Hobbes began the state of nature view with these assumptions in mind. If some act was not rational, then it could not be good. In trying to develop the basis of political authority, he imagines the world without "a common power to keep us in awe," i.e. a world without government. He argues that in such a world, three motives would force us to do what is rationally in our self interest, anything. First, competition would drive us to be enemies, and since it is irrational to leave an enemy alive to wreak havoc on us later, it is rational to eliminate the opposition. Second, since striking first is always be best strategy, as in battles to the death, the person who would strike second may already be dead, self-defense makes enemies of us all. If we knew who was an enemy, we might avoid this problem, but as we do not, this becomes a serious problem. Even people who seem trust worthy may abuse our trust, and that would put ourselves at risk, something never rational. Co-operation becomes impossible.
To make an agreement where we depend on the co-operation of others is to put yourself in the same danger, and that is never rational. And if it is not rational, it is not good. If morality binds us to that agreement, then it is still not rational, and not good. So morality would be neither, which seems clearly wrong.
An agreement becomes rational only when there is sufficient reason to believe the other person will stick to the agreement. In the state of nature, there is no such reason, and hence agreements are irrational. Once there is a social agreement to abide by agreements, and sufficient coercive powers to bind people to their agreements, all agreements ["contracts"] not expressly forbidden by the common power to keep us in awe are binding and rational. This allows us to be moral agents: now that it is rational to keep agreements, we are morally bound to do so.
If Nazi Germany were the state of nature, then there would be no moral rules. It would be perfectly rational to lie to the Gestapo. It would be good to do so, then, though not morally good to do so. But the cost of such a view is high: it would also not be wrong for the Gestapo to murder innocent people. Such moral restraints are also part of the social agreement, and the assumption is that there is no such agreement. We would then have to say that is is not immoral to lie in that circumstance, but also that it is not immoral to kill. And this applies equally to all.
Nor would it be morally praiseworthy to aid others at risk to yourself. Indeed. this would, on Hobbes view, be irrational, too. It brings no good to yourself, and puts you at risk. Hence, on a Hobbesian view, we have several counter intuitive results. The person who aids a Jew is not being rational, and not doing a good thing. The Gestapo agent, who murders both the Jew and the protector, is also not doing a morally bad thing.
Moreover, to have this position, we would also need some argument to show that Nazi Germany was in fact the state of nature. There is no reason to think so on Hobbes view, at least. The common power did keep everyone in awe. Life was not solitary, poor, nasty, brutish and short, unless you were an enemy of the state. Those people would not be bound by the agreement, and not bound by morality. That is, Jews in the Third Reich could rationally resist, and use all the means of war to do so. But the people protected by the authority have no such philosophical recourse. We need some reason to think that the state of nature, and hence, a state of war, existed between the people hiding Jews and others. Only then can Kant claim that the moral imperative "do not lie" does not apply to those people living in Nazi Germany.
Other conceptions next
Dr. Thomason suggested that one way Kant can answer the Gestapo problem [that on Kant's view, it is immoral to lie to the Gestapo even to save innocent lives, which appears to be a reductio, since it obviously is not only moral, but morally praiseworthy] was by claiming that people in Nazi germany were in effect living in a state of nature, and in the state of nature, there are no moral rules. Such a view has a long history, but it is not usually associated with Kant. Kant famously insists that morality is contextless, absolute duty, that applies everywhere all the time. Dr. Thomason is arguing that the usual interpretations are incorrect.
An essential feature of almost all conceptions of morality that descended from the Greeks [and that includes every major philosopher in the West through Nietzsche] is that morality is rational. One ought to act morally because it is rational to act morally. Unless you are an anti-moralist, or an anti-rationalist, there is good reason to accept this view: to deny it is to somehow make it that you ought to do something that literally makes no sense. Morality would be indistinguishable from taboo, and the answer to the question: why should I be moral? would get the answer: no reason. It is easy to see that such a view would immediately undercut any motive to be moral, and since morality is frequently burdensome [where it is not, there is no need for it], people would simply walk away from all talk of moral duty.
That kind of view, possible after Nietzsche, but at a price, was never an option before. Instead, Plato, Aristotle, Hobbes, Locke, Rousseau, Hume, and Kant, etc., etc., all agree that an action is good if and only if it is rational, and if something is moral then it must be good.
Hobbes began the state of nature view with these assumptions in mind. If some act was not rational, then it could not be good. In trying to develop the basis of political authority, he imagines the world without "a common power to keep us in awe," i.e. a world without government. He argues that in such a world, three motives would force us to do what is rationally in our self interest, anything. First, competition would drive us to be enemies, and since it is irrational to leave an enemy alive to wreak havoc on us later, it is rational to eliminate the opposition. Second, since striking first is always be best strategy, as in battles to the death, the person who would strike second may already be dead, self-defense makes enemies of us all. If we knew who was an enemy, we might avoid this problem, but as we do not, this becomes a serious problem. Even people who seem trust worthy may abuse our trust, and that would put ourselves at risk, something never rational. Co-operation becomes impossible.
To make an agreement where we depend on the co-operation of others is to put yourself in the same danger, and that is never rational. And if it is not rational, it is not good. If morality binds us to that agreement, then it is still not rational, and not good. So morality would be neither, which seems clearly wrong.
An agreement becomes rational only when there is sufficient reason to believe the other person will stick to the agreement. In the state of nature, there is no such reason, and hence agreements are irrational. Once there is a social agreement to abide by agreements, and sufficient coercive powers to bind people to their agreements, all agreements ["contracts"] not expressly forbidden by the common power to keep us in awe are binding and rational. This allows us to be moral agents: now that it is rational to keep agreements, we are morally bound to do so.
If Nazi Germany were the state of nature, then there would be no moral rules. It would be perfectly rational to lie to the Gestapo. It would be good to do so, then, though not morally good to do so. But the cost of such a view is high: it would also not be wrong for the Gestapo to murder innocent people. Such moral restraints are also part of the social agreement, and the assumption is that there is no such agreement. We would then have to say that is is not immoral to lie in that circumstance, but also that it is not immoral to kill. And this applies equally to all.
Nor would it be morally praiseworthy to aid others at risk to yourself. Indeed. this would, on Hobbes view, be irrational, too. It brings no good to yourself, and puts you at risk. Hence, on a Hobbesian view, we have several counter intuitive results. The person who aids a Jew is not being rational, and not doing a good thing. The Gestapo agent, who murders both the Jew and the protector, is also not doing a morally bad thing.
Moreover, to have this position, we would also need some argument to show that Nazi Germany was in fact the state of nature. There is no reason to think so on Hobbes view, at least. The common power did keep everyone in awe. Life was not solitary, poor, nasty, brutish and short, unless you were an enemy of the state. Those people would not be bound by the agreement, and not bound by morality. That is, Jews in the Third Reich could rationally resist, and use all the means of war to do so. But the people protected by the authority have no such philosophical recourse. We need some reason to think that the state of nature, and hence, a state of war, existed between the people hiding Jews and others. Only then can Kant claim that the moral imperative "do not lie" does not apply to those people living in Nazi Germany.
Other conceptions next
Friday, February 12, 2010
Next Weeks Post
I promised to post about Kant again on Monday, but I forgot that Monday is a holiday here at McNeese. So that post will be delayed till after the Mardi Gras break. for those of you who do not get a break for Mardi Gras, ha ha.
Thursday, February 11, 2010
Philosophy Club Meeting
We have started again. We now meet in Kaufman, 241, Fridays at 12:00. Anyone welcome. Even c.e.
Hanno
Hanno
Tuesday, February 9, 2010
Yet Another Reason Not To Use Wikipedia
See Further Reading
We are officially part of the problem...or are we contributing to the solution?
~guybrarian
We are officially part of the problem...or are we contributing to the solution?
~guybrarian
Monday, February 8, 2010
Kant and the Holocaust
By Hanno
After last weeks discussion, I wanted to investigate the Kantian response to the Gestapo argument. It may be, perhaps, that Dr. Furman's and Dr. Thomason's moral views are radically different than mine, that our intuitions are so far off, there is nothing really to discuss. That in and of itself raises some interesting questions about how philosophy works: what are the conditions under which discussion is fruitful? When does it descend into two ships passing in the night?
On the other hand, my colleagues could suffering from what my professors at Penn called "being caught in the gripes of a philosophical position." This means that someone has been working so long with a view that they stick to the implications of the view in the face of obvious counter intuitive results. They either bite the bullet, and accept the absurdity, or pretend to bite the bullet, and maintain what they no longer really believe. They remain consistent, but consistency is easy. Truth? Not so much.
So here we have the argument: it is 1941, Eastern Galicia. Jews in Jewish neighborhoods are routinely rounded up and shot. People who talk to them are shot. People who help them are shot. People in Germany may not have known yet what is happening. But no one in any community with a substantial number of Jews in the former state of Poland, or the newly conquered territory in the Ukraine, Russia, Belorussia, the Latvian states, etc., can have any doubts.
And here are two real examples, not made up for phil 201: "Not far from Trembowla, in a small town of Budzananow, a Roman Catholic Priest, Father Ufryjewicz, saved a whole Jewish family by baptizing them and giving them baptismal certificates, and forging his parish records in such a way that he created for them a complete set of Christian forebears. With false identities that he had created they were able to move from place to place, away from those who might know their real identities, and thus to survive.
In Turka, on the eve of deportation of the Jews in August 19442, sister Jadwiga, a nun who was also the head nurse of the local hospital, hid 12 year old Lidia Klieman in the cubicles of the men's bathroom, which was used as a broom closet. Lidia stayed hidden in the hospital for several weeks. Sister Jedwiga put her in a Catholic orphanage under the care of Sister Blanka Piglowska, who knew she was Jewish. When a suspicion arose in the orphanage that Lidia might be Jewish, it was Sister Blanka who obtained new false papers for her with a new name, Maria Wolosyznska. She then transferred the girl to another orphanage where the mother superior was hiding many Jewish girls. ... Lidia's mother had been denounced to the Gestapo while traveling on false papers, arrested and killed."
I use both of these examples, there are many others, because it is clear the people doing the rescuing had to lie, lie often and frequently, to save the lives of these girls, whose only 'crimes' were that they were Jewish.
On my own intution, these people, called the righteous among the nations, a title bestowed on Non-Jewish people who act righteously, and used now to designate people who put there lives on the line to save Jews with benefit to themselves, are heroes. They have 'moral courage,' the courage to do the right thing even if it may mean, and frequently did mean, very bad things will happen if discovered. I regard these actions as truly morally good and praiseworthy. Indeed, I wish I possessed that sort of courage, and hope never to be placed in a situation where the limits of my own moral courage are tested.
Now on Dr. Furman's account, because these people had to lie to save the lives of the innocent, they are not righteous at all, but are doing something wrong. To lie is always wrong. Our duty to save lives is 'imperfect' meaning it does not always apply. Only when the means are moral ought we do our imperfect duty. Since lying is against a perfect duty, it is wrong. These people, therefore, are not doing something praiseworthy and admirable, but morally wrong. they ought to have told the truth, that the girls and families in question were Jewish. It is true that they will all most likely perish, but that changes nothing. Bad things can happen when you cat morally.
I have no idea why he insists that lying is always bad, unless he sticks to it because lying fails the categorical imperative, that is, the maxim 'If I want x, I ought to lie' cannot be consistently universalized. That is, it is wrong because Kant says so. But I simply refuse to believe that TMF really believes the priest and the Sisters ought to have told the truth, that they would be doing the right thing if they had told the truth, but have in fact done something bad.
On my view if there is a day of judgment, it is the Righteous among the Nations who will have good things happened to them, not the truth tellers. If you really disagree, then our intuitions are so far from each other, there is little to discuss.
Next Week: Dr. Thomason: Kant's State of Nature Defense.
After last weeks discussion, I wanted to investigate the Kantian response to the Gestapo argument. It may be, perhaps, that Dr. Furman's and Dr. Thomason's moral views are radically different than mine, that our intuitions are so far off, there is nothing really to discuss. That in and of itself raises some interesting questions about how philosophy works: what are the conditions under which discussion is fruitful? When does it descend into two ships passing in the night?
On the other hand, my colleagues could suffering from what my professors at Penn called "being caught in the gripes of a philosophical position." This means that someone has been working so long with a view that they stick to the implications of the view in the face of obvious counter intuitive results. They either bite the bullet, and accept the absurdity, or pretend to bite the bullet, and maintain what they no longer really believe. They remain consistent, but consistency is easy. Truth? Not so much.
So here we have the argument: it is 1941, Eastern Galicia. Jews in Jewish neighborhoods are routinely rounded up and shot. People who talk to them are shot. People who help them are shot. People in Germany may not have known yet what is happening. But no one in any community with a substantial number of Jews in the former state of Poland, or the newly conquered territory in the Ukraine, Russia, Belorussia, the Latvian states, etc., can have any doubts.
And here are two real examples, not made up for phil 201: "Not far from Trembowla, in a small town of Budzananow, a Roman Catholic Priest, Father Ufryjewicz, saved a whole Jewish family by baptizing them and giving them baptismal certificates, and forging his parish records in such a way that he created for them a complete set of Christian forebears. With false identities that he had created they were able to move from place to place, away from those who might know their real identities, and thus to survive.
In Turka, on the eve of deportation of the Jews in August 19442, sister Jadwiga, a nun who was also the head nurse of the local hospital, hid 12 year old Lidia Klieman in the cubicles of the men's bathroom, which was used as a broom closet. Lidia stayed hidden in the hospital for several weeks. Sister Jedwiga put her in a Catholic orphanage under the care of Sister Blanka Piglowska, who knew she was Jewish. When a suspicion arose in the orphanage that Lidia might be Jewish, it was Sister Blanka who obtained new false papers for her with a new name, Maria Wolosyznska. She then transferred the girl to another orphanage where the mother superior was hiding many Jewish girls. ... Lidia's mother had been denounced to the Gestapo while traveling on false papers, arrested and killed."
I use both of these examples, there are many others, because it is clear the people doing the rescuing had to lie, lie often and frequently, to save the lives of these girls, whose only 'crimes' were that they were Jewish.
On my own intution, these people, called the righteous among the nations, a title bestowed on Non-Jewish people who act righteously, and used now to designate people who put there lives on the line to save Jews with benefit to themselves, are heroes. They have 'moral courage,' the courage to do the right thing even if it may mean, and frequently did mean, very bad things will happen if discovered. I regard these actions as truly morally good and praiseworthy. Indeed, I wish I possessed that sort of courage, and hope never to be placed in a situation where the limits of my own moral courage are tested.
Now on Dr. Furman's account, because these people had to lie to save the lives of the innocent, they are not righteous at all, but are doing something wrong. To lie is always wrong. Our duty to save lives is 'imperfect' meaning it does not always apply. Only when the means are moral ought we do our imperfect duty. Since lying is against a perfect duty, it is wrong. These people, therefore, are not doing something praiseworthy and admirable, but morally wrong. they ought to have told the truth, that the girls and families in question were Jewish. It is true that they will all most likely perish, but that changes nothing. Bad things can happen when you cat morally.
I have no idea why he insists that lying is always bad, unless he sticks to it because lying fails the categorical imperative, that is, the maxim 'If I want x, I ought to lie' cannot be consistently universalized. That is, it is wrong because Kant says so. But I simply refuse to believe that TMF really believes the priest and the Sisters ought to have told the truth, that they would be doing the right thing if they had told the truth, but have in fact done something bad.
On my view if there is a day of judgment, it is the Righteous among the Nations who will have good things happened to them, not the truth tellers. If you really disagree, then our intuitions are so far from each other, there is little to discuss.
Next Week: Dr. Thomason: Kant's State of Nature Defense.
Monday, February 1, 2010
Kant and the Truth, the whole Truth and Nothing but the Truth
By Hanno
Dr. Thomason, Dr. Butkus and I were having a discussion at Darrell's [blessed be his place] about Kant and his ethics. At the heart of the discussion was Kant's defense of the absolute requirements of the moral law. In particular, Kant argues that the moral law commands what we ought to do under any circumstances. One of those requirements is truth-telling: we ought to always tell the truth, in any possible situation.
There are two standard objections, though they have a similar structure. Each flows, as I discovered in our conversation, from a moral dilemma created from other moral duties that we have. The first is the classic, phil 101 example of the Gestapo knocking on the door of someone who is hiding Jews in the attic. The Gestapo asks 'Are you hiding any Jews?' The truthful answer is 'yes', which would result in your immediate execution, and the transfer of the hidden Jews to a concentration camp, where they, too, will face almost certain death. On the face of it, one can argue, this cannot be the moral thing to do. It may be argued, correctly, on Kant's view, that there is a moral duty to preserve one's life, and that there is a moral duty to preserve the life of others. Hence, there is reason to think you have a moral duty to lie.
This creates two problems for Kant. If so, the moral duty to always tell the truth is not absolute. There are circumstances where you ought not tell the truth, and the whole picture looks shaky. Second, on Kant's view, reason respects consistency. It is because the maxims can be consistently universalized that they carry the moral 'ought.' Reason has its own motive, separate from the desires of the appetites, which is respect for the moral law, and this respect is grounded in the consistency of moral laws. Just as reason is in awe of the axioms of geometry because they are consistent, and the laws of Physics because they are consistent, so too with the moral law. If this objection is right, the moral laws are in fact not consistent. There are real moral dilemmas. If you tell the truth, you violate one moral law, and if you do not, you violate another. The existence of moral dilemmas thus poses an existential problem for Kant's view: if the system is inconsistent, there is no reason whatsoever to always follow the moral law. Indeed, if the moral law is in fact universal, there may be no moral law at all.
There is another standard objection: the little white lie. Here, lives are not at stake. Indeed, something as trivial [!] as feelings are at play. We picture a situation where truth telling does no one any good whatsoever. In fact, it just creates misery. Telling the truth will make someone feel miserable, and will not make you feel good either. One need not be a consequentialist to accept such a situation. That is, one need not think that only the consequences of an action determine its moral worth. Instead, one need only accept that at least part of the moral worth of an action depends on its consequences [and not the whole]. In our discussion, it became clear that this, too, rests on conflicting moral duties [though I am this minimum consequentialist: if there is no consequence whatsoever, I see no reason why I ought to do as told.] The dilemma for Kant comes from a competing moral duty: kindness. We ought to be kind. But the truth is not always kind, it would seem. Indeed, Nietzsche stated that there is a cruel streak in always telling the truth, a cruel streak which is cloaked in moral righteousness. "I am just telling the truth: you are a horrible lay, and not really smart either." I think Niezsche was correct.
The response to these objections was to insist that there must be a way to tell the truth and meet the moral law. That is, perhaps there is a way you can both tell the truth and be kind. I am not sure how such a response works with the Nazi example, but if true, it works with the kindness example. But I will note: this seems to be an empirical question: is there a way of telling the truth in all circumstances while at the same time being kind? The global claim, yes, there must be, needs a defense, and if Kant is right, an a priori defense.
Dr. Thomason, Dr. Butkus and I were having a discussion at Darrell's [blessed be his place] about Kant and his ethics. At the heart of the discussion was Kant's defense of the absolute requirements of the moral law. In particular, Kant argues that the moral law commands what we ought to do under any circumstances. One of those requirements is truth-telling: we ought to always tell the truth, in any possible situation.
There are two standard objections, though they have a similar structure. Each flows, as I discovered in our conversation, from a moral dilemma created from other moral duties that we have. The first is the classic, phil 101 example of the Gestapo knocking on the door of someone who is hiding Jews in the attic. The Gestapo asks 'Are you hiding any Jews?' The truthful answer is 'yes', which would result in your immediate execution, and the transfer of the hidden Jews to a concentration camp, where they, too, will face almost certain death. On the face of it, one can argue, this cannot be the moral thing to do. It may be argued, correctly, on Kant's view, that there is a moral duty to preserve one's life, and that there is a moral duty to preserve the life of others. Hence, there is reason to think you have a moral duty to lie.
This creates two problems for Kant. If so, the moral duty to always tell the truth is not absolute. There are circumstances where you ought not tell the truth, and the whole picture looks shaky. Second, on Kant's view, reason respects consistency. It is because the maxims can be consistently universalized that they carry the moral 'ought.' Reason has its own motive, separate from the desires of the appetites, which is respect for the moral law, and this respect is grounded in the consistency of moral laws. Just as reason is in awe of the axioms of geometry because they are consistent, and the laws of Physics because they are consistent, so too with the moral law. If this objection is right, the moral laws are in fact not consistent. There are real moral dilemmas. If you tell the truth, you violate one moral law, and if you do not, you violate another. The existence of moral dilemmas thus poses an existential problem for Kant's view: if the system is inconsistent, there is no reason whatsoever to always follow the moral law. Indeed, if the moral law is in fact universal, there may be no moral law at all.
There is another standard objection: the little white lie. Here, lives are not at stake. Indeed, something as trivial [!] as feelings are at play. We picture a situation where truth telling does no one any good whatsoever. In fact, it just creates misery. Telling the truth will make someone feel miserable, and will not make you feel good either. One need not be a consequentialist to accept such a situation. That is, one need not think that only the consequences of an action determine its moral worth. Instead, one need only accept that at least part of the moral worth of an action depends on its consequences [and not the whole]. In our discussion, it became clear that this, too, rests on conflicting moral duties [though I am this minimum consequentialist: if there is no consequence whatsoever, I see no reason why I ought to do as told.] The dilemma for Kant comes from a competing moral duty: kindness. We ought to be kind. But the truth is not always kind, it would seem. Indeed, Nietzsche stated that there is a cruel streak in always telling the truth, a cruel streak which is cloaked in moral righteousness. "I am just telling the truth: you are a horrible lay, and not really smart either." I think Niezsche was correct.
The response to these objections was to insist that there must be a way to tell the truth and meet the moral law. That is, perhaps there is a way you can both tell the truth and be kind. I am not sure how such a response works with the Nazi example, but if true, it works with the kindness example. But I will note: this seems to be an empirical question: is there a way of telling the truth in all circumstances while at the same time being kind? The global claim, yes, there must be, needs a defense, and if Kant is right, an a priori defense.
Wednesday, January 27, 2010
Epistemology
Yes.... I am still planning on posting concerning my analysis of knowledge --to take some of the burden off of Hanno. I will start doing so as soon as I over come some technical difficulties regarding the inclusion of various diagrams.
Todd Furman
Monday, January 25, 2010
Avatar
by Hanno
I read a recent analysis of Avatar [it seems the popular thing in some quarters] where people are offened by the movie for a variety of reasons, both on the left and the right. The criticism on the left deals with its treatment of indigenous cultures, and the need for a white savior. The criticism on the right deals with the bad guys being corporate imperialists, stereotypical businessmen and mercenaries using violence to rape the planet, kill the natives and make lots of money.
First, these may be worth thinking about, and the critiques may be on target. But anyone who describes their feelings about the movie as 'offensive' has serious problems. Lets save 'offensive' for things that are really disturbing, where great emotional pain is inflicted. Feigned offense, Michael Kinesley has pointed out, is a favorite political move to highlight something stupid someone else has said, but it allows people to avoid speaking about real issues.
Second, there is some truth to the criticism from the left, but it is easy to overstate, and misses some more important classic themes. The movie actually resembles quite a few movies and books over the past several centuries, with a common theme which has been called 'going native.' To truly appreciate this theme, you need to come from a racist or Eurocentric culture [we need a good word for the belief that one culture is superior to all others, similar to racism, but tied explicitly to culture instead of the quasi biological category of race.] And the culture of the heart of Europe in the 16-1900's fits the bill. On this view, native people are primitive, ignorant, savage and dumb, worthy only either of being used for the superior culture, being brought to the light of the superior culture, or of extermination. It is the backwards nature of the indigenous culture which then makes abusing its people, sometimes for their own good, justifiable.
Since the discovery of the Native American tribes, there was also a minority contrary view: some people discovered that the supposedly saveage and backwards culturee/people were not as backwards as thought by the majority, that the European [be it Dutch, English, French, Spanish, etc] culture has something perhaps to learn from the indigenous culture. And historically, some of these people were part of the military organization used to suppress the indigenous people. Only an Ameri-centric person would think this is talking about the US, though of course it applies to them, too. The English in India and other places, the Dutch in Indonesia, and the Americans in the Dakotas are all examples. At times, people in that setting leave not just their country, but their culture behind, and adopt the indigenous ways. This was common enough to get a name, derisive among the racist mainstream, 'going native.' An officer who went native was likely to be ostracized. After all, such a person would not do as commanded, would not support the imperialist nature of the regime he was defending, and mocked the supposed superioty of the home culture. Usually, such people were recalled, and replaced by someone more trustworthy.
In Holland, there was a novel made into a movie about just this type of person called 'Max Havilaar,' and, of course, in the States, this dynamic was portrayed in 'Dances with Wolves.' The theme is prominent in English writing about the Empire. 'Avatar' fits thus in a long line of such books and movies. In 'Avatar,' an American is able to physically embody an alien, and comes to understand the natives, then to appreciate the natives, then to become one of the natives. By exhibiting his transformation, we come to follow his footsteps. The reader, or viewer, too, comes to understand and appreciate the indigenous culture. We thus learn the lesson, as readers and viewers, that the notion of cultural superiority is problematic, and leads to great moral problems, as we can be asked to condone or to participate in the destruction of a worthy people/culture.
For this to work, you must have a person from the non-indigenous culture as the proponent. Following someone else's discovery of another culture allows us to discover it, too. And so while it may be odd to have the savior of the Navi be a white American, the anti-imperialist point could not really be conveyed in other ways.
And I will say this about the criticism of the right, that the movie makes capitalism the bad guy: hit a dog and it barks.
I read a recent analysis of Avatar [it seems the popular thing in some quarters] where people are offened by the movie for a variety of reasons, both on the left and the right. The criticism on the left deals with its treatment of indigenous cultures, and the need for a white savior. The criticism on the right deals with the bad guys being corporate imperialists, stereotypical businessmen and mercenaries using violence to rape the planet, kill the natives and make lots of money.
First, these may be worth thinking about, and the critiques may be on target. But anyone who describes their feelings about the movie as 'offensive' has serious problems. Lets save 'offensive' for things that are really disturbing, where great emotional pain is inflicted. Feigned offense, Michael Kinesley has pointed out, is a favorite political move to highlight something stupid someone else has said, but it allows people to avoid speaking about real issues.
Second, there is some truth to the criticism from the left, but it is easy to overstate, and misses some more important classic themes. The movie actually resembles quite a few movies and books over the past several centuries, with a common theme which has been called 'going native.' To truly appreciate this theme, you need to come from a racist or Eurocentric culture [we need a good word for the belief that one culture is superior to all others, similar to racism, but tied explicitly to culture instead of the quasi biological category of race.] And the culture of the heart of Europe in the 16-1900's fits the bill. On this view, native people are primitive, ignorant, savage and dumb, worthy only either of being used for the superior culture, being brought to the light of the superior culture, or of extermination. It is the backwards nature of the indigenous culture which then makes abusing its people, sometimes for their own good, justifiable.
Since the discovery of the Native American tribes, there was also a minority contrary view: some people discovered that the supposedly saveage and backwards culturee/people were not as backwards as thought by the majority, that the European [be it Dutch, English, French, Spanish, etc] culture has something perhaps to learn from the indigenous culture. And historically, some of these people were part of the military organization used to suppress the indigenous people. Only an Ameri-centric person would think this is talking about the US, though of course it applies to them, too. The English in India and other places, the Dutch in Indonesia, and the Americans in the Dakotas are all examples. At times, people in that setting leave not just their country, but their culture behind, and adopt the indigenous ways. This was common enough to get a name, derisive among the racist mainstream, 'going native.' An officer who went native was likely to be ostracized. After all, such a person would not do as commanded, would not support the imperialist nature of the regime he was defending, and mocked the supposed superioty of the home culture. Usually, such people were recalled, and replaced by someone more trustworthy.
In Holland, there was a novel made into a movie about just this type of person called 'Max Havilaar,' and, of course, in the States, this dynamic was portrayed in 'Dances with Wolves.' The theme is prominent in English writing about the Empire. 'Avatar' fits thus in a long line of such books and movies. In 'Avatar,' an American is able to physically embody an alien, and comes to understand the natives, then to appreciate the natives, then to become one of the natives. By exhibiting his transformation, we come to follow his footsteps. The reader, or viewer, too, comes to understand and appreciate the indigenous culture. We thus learn the lesson, as readers and viewers, that the notion of cultural superiority is problematic, and leads to great moral problems, as we can be asked to condone or to participate in the destruction of a worthy people/culture.
For this to work, you must have a person from the non-indigenous culture as the proponent. Following someone else's discovery of another culture allows us to discover it, too. And so while it may be odd to have the savior of the Navi be a white American, the anti-imperialist point could not really be conveyed in other ways.
And I will say this about the criticism of the right, that the movie makes capitalism the bad guy: hit a dog and it barks.
Wednesday, December 16, 2009
An Analysis of Knowledge (A weekly discussion)
Since the subject of "knowledge" has been brought up, I thought I might ask whether anyone would be interested in me try to step through my dissertation week by week, section by section. In the dissertation I attempt to construct an analysis of empirical knowledge that matches our intuitions concerning knowledge, an analysis that also solves the Gettier Problem. Any interest?
Wednesday, November 25, 2009
Facebook Philosophy: Epistemology
By Hanno, Lee and c.e.
Lee: The difference between cockiness and confidence is that confidence does not depend on the opinion or view of others, it comes from self assurance through knowledge and experience, unlike cockiness no matter what someone else says confidence will not fade away because there is no need to show off or prove something, it is already known.
Hanno: Hmm. I expect that confidence does not really exist, then. All of our conceptions of self are tied, at least in part, to the opinion of others, unless you are utterly delusional. Imagine you write a paper about things you think you know, and you think it is well written. You show it to your friends, and they say it is unreadable crap. OK, you are confident, you still know it is good. So you show it to your professor, and he blasts it, gives it a D. So you show it to a professor you respect. And he explains why its crap. At some point, don't you lose your confidence? And if not, are you not delusional?
Lee: That is a good point, however I think that if confidence stems from knowledge it must stem from true knowledge other wise it is false confidence. For us to actually know something it must first be true, the example you used could show that the person would not have had the experience of writing good papers nor knowing what they consist of, however you make a good point in the fact that the only way for one to know that your are doing something right is through the opinions, teachings, and guidance of others. But I think that once the person has that true knowledge of what a good paper consists of it would not matter what a professor or the persons friends would say, and I would argue that the person is not being delusional if the paper had been written in accordance to that knowledge. I guess I should have just said that confidence sustainability does not depend upon the opinions of others. But I am not arguing that conceptions of self are not tied to other people, only that once you know who you are and what you can do you dont need to show it off and no one can take it from you (ideally).
Hanno: How will you know you have true knowledge?
I say all thus, of course, as a cocky person.
c.e.: Why must knowledge be tied to truth? Certainly, can't I have a justified false belief? And don't we call that knowledge? I can thus "know" something, which is in fact false. And if knowledge is dependent upon truth (at you would have it then I can only "know" that which is known analytically, since even the synthetic is suspect, and certainly “facts", as they are commonly held, are suspect and generally grounded in assumptions. And as such, we "know" very little. And certainly, whether or not a paper is "good" does not fall into such a category.
That confidence is synonymous with delusion is no way entails that is does not exist. Indeed, we have every reason to believe that there are delusional persons, and if so, then that there are also─as per your argument─confident persons. And thus, confidence must exist.
Lee: well to me personally knowledge must be tied to truth, I would never call a false belief knowledge. There is a difference between believing something and having knowledge about something. For instance, a person believed that he knew his drink wasnt poisoned by his wife (she assured him it wasnt), and low and behold he found out that some men cant hold their arsenic after drinking it. It would be fair to say the he held a belief that the drink wasnt poisoned but it would not be accurate to say that he KNEW it wasnt poisoned. One cannot know that 2 + 2 = 5, only believe it.
4 hours ago
c.e.: Then you're redefining knowledge. And doing so in such a stringent fashion that we "know" very little. Indeed, you'll have to replace almost every daily usage of the word "know"with the word "believe". And that's fishy, to say the least. Our criteria for knowledge is far more lax than that. As such, science can never give us knowledge. It simply lacks the ability, as anything empirical must (on your view).
Hanno: Who is the one redefining knowledge? Perhaps it is you! And maybe we *know* very little.
Lee: Fine Chris Ill just go into epistemological arguments and bite the bullet. I think the notion that knowledge is justified belief in somethings standing on what it is actually true does not infringe upon empirical claims at all. As long as you don’t get into the nitty gritty dream argument that is. I am justified in my belief that 2 + 2 equals 4 because it would be a logical impossibility for it not to. So I can know that, I can also know that water boils at 212 degrees Fahrenheit because it does so every single time I raise it to that temperature and thus my justified belief can be called knowledge. Having a belief is a prerequisite for having knowledge, but whether or not that belief is true and having justification for believing it is true is what I believe constitutes as knowledge. I don’t think it prevents science from giving us knowledge at all.
In order to say you know something you must first have a belief, the belief must be true, and you must have justification for believing it is true. Thats where my notion of knowledge came from which is tied to my notion of confidence for better or worse.
Hanno: What lee says seems right. But we learn socially. Almost everything you think you know you learned from someone. Which is precisely why your confidence is social, too. The things you actually determine yourself are few and usually uninteresting. It would be narcissistically delusional to think you are right and everybody else is wrong about any topic the least bit interesting.
c.e.: 2 + 2 = 4 is not in the same category as water boiling at 212 F. One is confirmed merely by observation. It is necessarily the case that 2 + 2 = 4. There may be circumstances in which water does not boil at 212 F. Simply because you have never encountered that circumstance means not so much.
What we call knowledge is justified belief. We cannot be guaranteed that G or e are right in any absolute sense. We can only have good evidence to support them. We could be wrong. And as such, we may have knowledge, which is in fact false.
And once we realize justification comes in degrees, it's up for debate as to what constitutes a good(tm) justification. It's not immediately obvious that "My father loves me", and "The mass of a proton is 1.672 621 637(83) × 10−27 kg", differ in kind, or merely by relative uncertainty.... See More
Uncertainty is there. And as such, the line you are drawing between knowledge and belief is either not present, which I will concede is false, or often blurry and prone to smudging, which I will hold is true.
Empiricism can never guarantee truth. It lacks the ability to do such. But it can give us good reason to believe. And when we feel justified in our beliefs, then we call it knowledge. Whether or not we are justified, which justifications are good ones, etc., is still up in the air.
Hanno: There are lots of reasons to think that mere justified beliefs do not constitute knowledge. And not even true justified beliefs, for which you can speak to Dr. Furman, as his dissertation deals with just that claim. For example, I might look up at Big Ben, and the clock says 12:00. So given the belief that Big Ben is an accurate clock, I may be justified in believing that it is 12 o'clock. But we would not call that knowledge if it turned out that Big Ben stopped working, unbeknownst to me. And even if it happened at that moment to be 12, but the clock stuck on 12, I would have a justified true belief, but it is missing something, because it is just by accident that the clock has the right time (a stopped clock is right twice a day). True justified belief plus something extra = knowledge. Thanks to GE Moore for the example.
But be that as it may, my belief that Big Ben is usually right is socially constructed. And if everyone around me told me that Big Ben was not working, or that it was wrong, I would be an idiot to keep having confidence in its verdicality.
Lee: The difference between cockiness and confidence is that confidence does not depend on the opinion or view of others, it comes from self assurance through knowledge and experience, unlike cockiness no matter what someone else says confidence will not fade away because there is no need to show off or prove something, it is already known.
Hanno: Hmm. I expect that confidence does not really exist, then. All of our conceptions of self are tied, at least in part, to the opinion of others, unless you are utterly delusional. Imagine you write a paper about things you think you know, and you think it is well written. You show it to your friends, and they say it is unreadable crap. OK, you are confident, you still know it is good. So you show it to your professor, and he blasts it, gives it a D. So you show it to a professor you respect. And he explains why its crap. At some point, don't you lose your confidence? And if not, are you not delusional?
Lee: That is a good point, however I think that if confidence stems from knowledge it must stem from true knowledge other wise it is false confidence. For us to actually know something it must first be true, the example you used could show that the person would not have had the experience of writing good papers nor knowing what they consist of, however you make a good point in the fact that the only way for one to know that your are doing something right is through the opinions, teachings, and guidance of others. But I think that once the person has that true knowledge of what a good paper consists of it would not matter what a professor or the persons friends would say, and I would argue that the person is not being delusional if the paper had been written in accordance to that knowledge. I guess I should have just said that confidence sustainability does not depend upon the opinions of others. But I am not arguing that conceptions of self are not tied to other people, only that once you know who you are and what you can do you dont need to show it off and no one can take it from you (ideally).
Hanno: How will you know you have true knowledge?
I say all thus, of course, as a cocky person.
c.e.: Why must knowledge be tied to truth? Certainly, can't I have a justified false belief? And don't we call that knowledge? I can thus "know" something, which is in fact false. And if knowledge is dependent upon truth (at you would have it then I can only "know" that which is known analytically, since even the synthetic is suspect, and certainly “facts", as they are commonly held, are suspect and generally grounded in assumptions. And as such, we "know" very little. And certainly, whether or not a paper is "good" does not fall into such a category.
That confidence is synonymous with delusion is no way entails that is does not exist. Indeed, we have every reason to believe that there are delusional persons, and if so, then that there are also─as per your argument─confident persons. And thus, confidence must exist.
Lee: well to me personally knowledge must be tied to truth, I would never call a false belief knowledge. There is a difference between believing something and having knowledge about something. For instance, a person believed that he knew his drink wasnt poisoned by his wife (she assured him it wasnt), and low and behold he found out that some men cant hold their arsenic after drinking it. It would be fair to say the he held a belief that the drink wasnt poisoned but it would not be accurate to say that he KNEW it wasnt poisoned. One cannot know that 2 + 2 = 5, only believe it.
4 hours ago
c.e.: Then you're redefining knowledge. And doing so in such a stringent fashion that we "know" very little. Indeed, you'll have to replace almost every daily usage of the word "know"with the word "believe". And that's fishy, to say the least. Our criteria for knowledge is far more lax than that. As such, science can never give us knowledge. It simply lacks the ability, as anything empirical must (on your view).
Hanno: Who is the one redefining knowledge? Perhaps it is you! And maybe we *know* very little.
Lee: Fine Chris Ill just go into epistemological arguments and bite the bullet. I think the notion that knowledge is justified belief in somethings standing on what it is actually true does not infringe upon empirical claims at all. As long as you don’t get into the nitty gritty dream argument that is. I am justified in my belief that 2 + 2 equals 4 because it would be a logical impossibility for it not to. So I can know that, I can also know that water boils at 212 degrees Fahrenheit because it does so every single time I raise it to that temperature and thus my justified belief can be called knowledge. Having a belief is a prerequisite for having knowledge, but whether or not that belief is true and having justification for believing it is true is what I believe constitutes as knowledge. I don’t think it prevents science from giving us knowledge at all.
In order to say you know something you must first have a belief, the belief must be true, and you must have justification for believing it is true. Thats where my notion of knowledge came from which is tied to my notion of confidence for better or worse.
Hanno: What lee says seems right. But we learn socially. Almost everything you think you know you learned from someone. Which is precisely why your confidence is social, too. The things you actually determine yourself are few and usually uninteresting. It would be narcissistically delusional to think you are right and everybody else is wrong about any topic the least bit interesting.
c.e.: 2 + 2 = 4 is not in the same category as water boiling at 212 F. One is confirmed merely by observation. It is necessarily the case that 2 + 2 = 4. There may be circumstances in which water does not boil at 212 F. Simply because you have never encountered that circumstance means not so much.
What we call knowledge is justified belief. We cannot be guaranteed that G or e are right in any absolute sense. We can only have good evidence to support them. We could be wrong. And as such, we may have knowledge, which is in fact false.
And once we realize justification comes in degrees, it's up for debate as to what constitutes a good(tm) justification. It's not immediately obvious that "My father loves me", and "The mass of a proton is 1.672 621 637(83) × 10−27 kg", differ in kind, or merely by relative uncertainty.... See More
Uncertainty is there. And as such, the line you are drawing between knowledge and belief is either not present, which I will concede is false, or often blurry and prone to smudging, which I will hold is true.
Empiricism can never guarantee truth. It lacks the ability to do such. But it can give us good reason to believe. And when we feel justified in our beliefs, then we call it knowledge. Whether or not we are justified, which justifications are good ones, etc., is still up in the air.
Hanno: There are lots of reasons to think that mere justified beliefs do not constitute knowledge. And not even true justified beliefs, for which you can speak to Dr. Furman, as his dissertation deals with just that claim. For example, I might look up at Big Ben, and the clock says 12:00. So given the belief that Big Ben is an accurate clock, I may be justified in believing that it is 12 o'clock. But we would not call that knowledge if it turned out that Big Ben stopped working, unbeknownst to me. And even if it happened at that moment to be 12, but the clock stuck on 12, I would have a justified true belief, but it is missing something, because it is just by accident that the clock has the right time (a stopped clock is right twice a day). True justified belief plus something extra = knowledge. Thanks to GE Moore for the example.
But be that as it may, my belief that Big Ben is usually right is socially constructed. And if everyone around me told me that Big Ben was not working, or that it was wrong, I would be an idiot to keep having confidence in its verdicality.
Tuesday, November 17, 2009
Filmosophy
By Hanno
Last year we started doing a series of lectures using film as the background for questions in Philosophy, which we called 'filmosophy.' It is easy to use film to raise philosophical issues when you choose philosophically oriented films, such as the classic 'The Seventh Seal.' I, however, also wanted to explore philosophy in films that were not so obvious, and I wanted to do that for two reasons: First, I thought the audience for heavy films would be small, so the group that shows up would be small, and we were looking for something with more appeal. And second, it is more of challenge to show that there are Platonic overtones to, say, Starship Troopers, than to show questions about the meaning of life in The Seventh Seal. After all, no one thinks Starship Troopers has any philosophical content, while everyone who has seen the later knows there is philosophical content to the Seventh Seal.
I was going to do 'The Truman Show,' Jim Carey's movie about a guy whose whole life is a reality show, only he does not know it. I may still, at some point. But I thought of three others I would rather do:
The Mind/Body Problem and 'Ghost'
The Metaphysics of Time and 'Back to the Future'
Horror and 'Night of the Living Dead'
Last year we started doing a series of lectures using film as the background for questions in Philosophy, which we called 'filmosophy.' It is easy to use film to raise philosophical issues when you choose philosophically oriented films, such as the classic 'The Seventh Seal.' I, however, also wanted to explore philosophy in films that were not so obvious, and I wanted to do that for two reasons: First, I thought the audience for heavy films would be small, so the group that shows up would be small, and we were looking for something with more appeal. And second, it is more of challenge to show that there are Platonic overtones to, say, Starship Troopers, than to show questions about the meaning of life in The Seventh Seal. After all, no one thinks Starship Troopers has any philosophical content, while everyone who has seen the later knows there is philosophical content to the Seventh Seal.
I was going to do 'The Truman Show,' Jim Carey's movie about a guy whose whole life is a reality show, only he does not know it. I may still, at some point. But I thought of three others I would rather do:
The Mind/Body Problem and 'Ghost'
The Metaphysics of Time and 'Back to the Future'
Horror and 'Night of the Living Dead'
Wednesday, November 11, 2009
The End of Philosophers
Simon Critchley, a philosopher at the New School for Social Research, presents a fascinating and funny examination of how many of the great philosophers met their ultimate end. Critchley is the author of The Book of Dead Philosophers (2008), an examination of the philosophical concept of death.
Daniel Dennett on Philosophy Blogs
Dennett wrote this brief essay as the judge of the 3 quarks daily prize in philosophy. Worth a read.
I wish philosophy blog postings were more like the best science blog postings: short, jargon-free, and lively (if wit is too much to hope for, as apparently it is). Philosophers emerge from a training in which their writing efforts are almost always addressed to a captive audience: the grader is obliged to read the student’s essay, however turgid and ungainly, because that is the student’s right; then later, the others in the field with whom one is engaged in intellectual combat are obliged to read one’s latest sally simply because scholarship demands it. “You don’t know the literature” if you haven’t managed to claw your way through the books and articles of the competition. Moreover, writing something that is somewhat challenging to read, or even unpleasantly difficult to slog through, is seen by some as an enviable sign of depth. It is, I fear, the only way many philosophers can prove to colleagues and students–and to themselves–that they are doing hard work worth a professor’s salary.
Blogs, one might think, would be the ideal antidote, since nobody has to read your blog (not yet–the day will soon come when keeping up with the latest blog debates is the first rule for aspiring philosophical quidnuncs.) Alas, however, it seems that there is a countervailing pressure–or absence of pressure–that dissipates the effect: the blog genre is celebrated as a casual, self-indulgent form of self-expression. Easy to write, but not always delicious reading. (Remember, I tell my students, it is the reader, not the writer, who is supposed to have the fun.)
It is hard to see how blogs could survive without Google. If you are interested in the problem of reference in property dualism, or Buddhist anticipations of virtue ethics, or whatever, you can swiftly find the small gang who share your interest, and join the conversation without having to go through the long initiation process that introduces the outside reader to the terms, the state of the art, the current controversy. That means, however, that those who don’t share that interest will find nothing to appeal to them on those websites.
Monday, November 9, 2009
Oh the places you will go...
For those of you who are still unconvinced of the beauty in librarianship, I give you this job posting that came across the wire today:
UNIVERSITY OF CALIFORNIA, SANTA CRUZ
Grateful Dead Archivist
The University Library of the University of California, Santa Cruz, seeks an enterprising, creative, and service-oriented archivist to join the staff of Special Collections & Archives (SC&A) as Archivist for the Grateful Dead Archive. This is a potential career status position. The Archivist will be part of a dynamic, collegial, and highly motivated department dedicated to building, preserving, promoting, and providing maximum access both physically and virtually to one of the Library's most exciting and unique collections, The Grateful Dead Archive (GDA). The UCSC University Library utilizes innovative approaches to allow the discovery, use, management, and sharing of information in support of research, teaching, and learning.
Under the general direction of the Head of Special Collections and Archives, the GDA Archivist will provide managerial and curatorial oversight of the Grateful Dead Archive, plan for and oversee the physical and digital processing of Archives related material, and promote the GDA to the public and facilitate its use by scholars, fans, and students.
See the full description here
UNIVERSITY OF CALIFORNIA, SANTA CRUZ
Grateful Dead Archivist
The University Library of the University of California, Santa Cruz, seeks an enterprising, creative, and service-oriented archivist to join the staff of Special Collections & Archives (SC&A) as Archivist for the Grateful Dead Archive. This is a potential career status position. The Archivist will be part of a dynamic, collegial, and highly motivated department dedicated to building, preserving, promoting, and providing maximum access both physically and virtually to one of the Library's most exciting and unique collections, The Grateful Dead Archive (GDA). The UCSC University Library utilizes innovative approaches to allow the discovery, use, management, and sharing of information in support of research, teaching, and learning.
Under the general direction of the Head of Special Collections and Archives, the GDA Archivist will provide managerial and curatorial oversight of the Grateful Dead Archive, plan for and oversee the physical and digital processing of Archives related material, and promote the GDA to the public and facilitate its use by scholars, fans, and students.
See the full description here
Tuesday, November 3, 2009
Commercialization and Art
By Hanno
I read an argument not so long ago that runs something like this: Movie studios are now owned by large corporations, and these corporations bought the studios when they realized the profits that could be made through blockbusters. These movies make millions and millions of dollars. So the corporate culture is geared now less to making good movies, and more to making the next blockbuster. But blockbusters require two things: major stars and special effects, both of which are expensive. Hence, studios are making fewer more expensive movies, hoping to strike it rich.
Further, these movies must appeal to as many people as possible, and hence must aim at the lowest common denominator, things everyone wants to see. Therefore, they are splashy, lots of explosions, filled with pretty people, and not thought provoking or controversial. They do not challenge the system, they embody it. Independent films have no chance in today's market.
Now I wonder just how true these claims are. First, one may note that there has always existed a tension between the desires of the artist and the desires of the consumer (or the people who pay for the art). An artist who produces for the consumer seems to not be true to the artistic nature of the medium, i.e., they are not being true artists. They are, in a real sense, selling out, chasing the buck.
As plausible as this argument sounds, the reality is more grey. The fact is that artists have always had to pay attention to the desires of the person or people paying for the art work. The Beatles were a commercial group, and their manager choose the look, the music and more with an eye to what sells. The Who, the Sex Pistols, and many more, made music with a conscious eye towards what would sell. They ceded power to their managers to help make this choice, and the manager did more than just get gigs. He would choose which songs to put on the album, for example. Pete Townsend pitched his concept album Tommy to his manager, aware that the manager was not interested in concepts of self, rock opera, mysticism, but in what sells, and Pete let himself be guided by that. 'Pinball wizard' is what made the whole thing work, a pop song about a guy who plays pinball. The bands that make it big do not work with a manager, but for him. And yet, no one can deny the artistic nature of the product. Apparently, art and commercialization are more closely connected than we thought.
The same is true in days of old, where it was not the masses that choose the music, but the patrons of the art, whose taste in art was as suspect as any of the masses. Bach, Beethoven, Rembrandt and many more, worked by commission, or by the whim of the patron, whose tastes they could not ignore.
And the same is true for movies: many classics were produced with commercial interests in mind. 'Star Wars' is a both a blockbuster and a classic movie.
And yet, no one (save Josh) can deny that popular culture can produce popular trash, from Louisiana's own Brittany Spears to the Bay City Rollers to Pat Gibson . So when then does pop destroy art? Does it at all?
Second, I read that there are fewer independent movies, fewer low budget movies, fewer artist movies, fewer thought provoking movies than before, But I wonder just how true that is. Are movies worse, different than before? SteveG argues in his own blog that the blockbusters lack tragic heros, and hence they have been on the decline. Yet if we think about it, there are tragic hero's in today's moves. DiCaprio in Blood Diamonds comes to mind. Is he right? Has the commercialization of the movie industry (and notice that that term 'movie industry' is old, it was an industry already in the '30s!) destroyed tragedy? And with it, the thought provoking movies of old?
I read an argument not so long ago that runs something like this: Movie studios are now owned by large corporations, and these corporations bought the studios when they realized the profits that could be made through blockbusters. These movies make millions and millions of dollars. So the corporate culture is geared now less to making good movies, and more to making the next blockbuster. But blockbusters require two things: major stars and special effects, both of which are expensive. Hence, studios are making fewer more expensive movies, hoping to strike it rich.
Further, these movies must appeal to as many people as possible, and hence must aim at the lowest common denominator, things everyone wants to see. Therefore, they are splashy, lots of explosions, filled with pretty people, and not thought provoking or controversial. They do not challenge the system, they embody it. Independent films have no chance in today's market.
Now I wonder just how true these claims are. First, one may note that there has always existed a tension between the desires of the artist and the desires of the consumer (or the people who pay for the art). An artist who produces for the consumer seems to not be true to the artistic nature of the medium, i.e., they are not being true artists. They are, in a real sense, selling out, chasing the buck.
As plausible as this argument sounds, the reality is more grey. The fact is that artists have always had to pay attention to the desires of the person or people paying for the art work. The Beatles were a commercial group, and their manager choose the look, the music and more with an eye to what sells. The Who, the Sex Pistols, and many more, made music with a conscious eye towards what would sell. They ceded power to their managers to help make this choice, and the manager did more than just get gigs. He would choose which songs to put on the album, for example. Pete Townsend pitched his concept album Tommy to his manager, aware that the manager was not interested in concepts of self, rock opera, mysticism, but in what sells, and Pete let himself be guided by that. 'Pinball wizard' is what made the whole thing work, a pop song about a guy who plays pinball. The bands that make it big do not work with a manager, but for him. And yet, no one can deny the artistic nature of the product. Apparently, art and commercialization are more closely connected than we thought.
The same is true in days of old, where it was not the masses that choose the music, but the patrons of the art, whose taste in art was as suspect as any of the masses. Bach, Beethoven, Rembrandt and many more, worked by commission, or by the whim of the patron, whose tastes they could not ignore.
And the same is true for movies: many classics were produced with commercial interests in mind. 'Star Wars' is a both a blockbuster and a classic movie.
And yet, no one (save Josh) can deny that popular culture can produce popular trash, from Louisiana's own Brittany Spears to the Bay City Rollers to Pat Gibson . So when then does pop destroy art? Does it at all?
Second, I read that there are fewer independent movies, fewer low budget movies, fewer artist movies, fewer thought provoking movies than before, But I wonder just how true that is. Are movies worse, different than before? SteveG argues in his own blog that the blockbusters lack tragic heros, and hence they have been on the decline. Yet if we think about it, there are tragic hero's in today's moves. DiCaprio in Blood Diamonds comes to mind. Is he right? Has the commercialization of the movie industry (and notice that that term 'movie industry' is old, it was an industry already in the '30s!) destroyed tragedy? And with it, the thought provoking movies of old?
Friday, October 30, 2009
New Direction?
by Hanno
Someone told me I have mined this Nietzsche vein for all its worth. I have more to say, but I have been on one topic way to long. Thoughts?
Someone told me I have mined this Nietzsche vein for all its worth. I have more to say, but I have been on one topic way to long. Thoughts?
Thursday, October 22, 2009
Life and Pain
By Hanno
Just as a work of art or literature has many different meanings, just as we can learn from how others see a work of art, or read a work of literature, so we can do the same with life itself. But we do not need a notion of absolute truth in meaning for that to make sense. In fact, perhaps the opposite: when we demand that others read Shakespeare like we read Shakespeare, because we have the truth, we automatically shut down the other. But is our 'truth' really truth?
Why would we need truth to appreciate art? Indeed, do we not have to embrace the false? Realism in art is always a lie. It really is a statue, not a man. It really is a 2 dimensional picture, not a person. When an artist draws it 'as it is' it is essentially a lie. And then the other forms of art leave even the hint of realism behind. No, I think he is right: to appreciate art, to get something interesting out of art, you must not pretend it is the truth, but embrace the lie, give the lie meaning. Is there truth? Even if so, it will not be interesting without the lie, without the interpretation which gives it meaning.
Does this mean we must accept any lie? No, just because it is an error does not make it an interesting one. just because it is a painting does not mean it is a good one. But the painting is good not because it captures the truth, and indeed, must capture part of the lie.
If i am making any sense (and maybe I am not!)...
I do not think Nietzsche wants the pain gone. Pain is part of life. To want the pain gone is to want life over. That is part of the anti-life vision he decries.
And if you think about your life, there were (are) pains and pleasures, sorrow and joy, bad choices, good choices, evil done to you and good things done to you. But you would not be who you are if you did not fully accept both, and all. All of your experiences shape who you became. You would not be who you are today without the bad times. So to want only the good is to want to be something other than you are. To love yourself is to love yourself as you are, and that requires loving the bad things, too. Loving life requires loving things difficult to love.
And if you think of art, the same is true. Art requires good and evil, pain and pleasure. You love the tragedy in spite of (or even because of!) the bad. Hamlet would not be Hamlet if he did not die in the end.
Just as a work of art or literature has many different meanings, just as we can learn from how others see a work of art, or read a work of literature, so we can do the same with life itself. But we do not need a notion of absolute truth in meaning for that to make sense. In fact, perhaps the opposite: when we demand that others read Shakespeare like we read Shakespeare, because we have the truth, we automatically shut down the other. But is our 'truth' really truth?
Why would we need truth to appreciate art? Indeed, do we not have to embrace the false? Realism in art is always a lie. It really is a statue, not a man. It really is a 2 dimensional picture, not a person. When an artist draws it 'as it is' it is essentially a lie. And then the other forms of art leave even the hint of realism behind. No, I think he is right: to appreciate art, to get something interesting out of art, you must not pretend it is the truth, but embrace the lie, give the lie meaning. Is there truth? Even if so, it will not be interesting without the lie, without the interpretation which gives it meaning.
Does this mean we must accept any lie? No, just because it is an error does not make it an interesting one. just because it is a painting does not mean it is a good one. But the painting is good not because it captures the truth, and indeed, must capture part of the lie.
If i am making any sense (and maybe I am not!)...
I do not think Nietzsche wants the pain gone. Pain is part of life. To want the pain gone is to want life over. That is part of the anti-life vision he decries.
And if you think about your life, there were (are) pains and pleasures, sorrow and joy, bad choices, good choices, evil done to you and good things done to you. But you would not be who you are if you did not fully accept both, and all. All of your experiences shape who you became. You would not be who you are today without the bad times. So to want only the good is to want to be something other than you are. To love yourself is to love yourself as you are, and that requires loving the bad things, too. Loving life requires loving things difficult to love.
And if you think of art, the same is true. Art requires good and evil, pain and pleasure. You love the tragedy in spite of (or even because of!) the bad. Hamlet would not be Hamlet if he did not die in the end.
Wednesday, October 21, 2009
Nietzsche, Life as Art
by Hanno
I want to take a look at Nietzsche's "Attempt at Self-Criticism," his piece where he tries to explain his work "The Birth of Tragedy." He writes:
This world view eliminates, makes impossible other world views, especially artistic ones. Now if we read Nietzsche as valuing the arts above all, we can get a totally new way to read the Genealogy: This is not praising the brute nobles of old, but opening up the possibility of a different world view, by showing that truth is not the only way, morality is not the only way. We can value this world, this life aesthetically, as a work of art, nay, as a work of literature, with all that that implies. It is not the warriors of old that Nietzsche truly admires, but the artists, the brilliant, the wonders.
Truthfulness is hostility to art and to life, claims Nietzsche. But why? He claims that he understood that Christianity was hostile to life long before:
But the moral view, the Christian view,
So Nietzsche is yearning for a world view that makes this life valuable, worthy, wonderful, and finds that possibility in art, in a different value scheme than the moral value scheme. To the extent that your moral view, your Christian view, does not reject this world, but revels in it, Nietzsche has less of a problem with it. To the extent that your world view makes way for art, values the deceptions that make our life as we live it, Nietzsche is not arguing with you. When you love this world as it is (Ha!), bad and good, true and false, differing view points and all, then you may be living as Nietzsche hoped.
I want to take a look at Nietzsche's "Attempt at Self-Criticism," his piece where he tries to explain his work "The Birth of Tragedy." He writes:
Perhaps the depth of this antimoral propensity is best inferred from the careful and hostile silence with which Christianity is treated throughout the whole book -- Christianity as the most prodigal elaboration of the moral theme to which humanity has ever been subjected. In truth, nothing could be more opposed to the purely aesthetic interpretation and justification of the world which are taught in this book than the Christian teaching, which is and wants to be, only moral and which relegates are, every art, to the realm of lies; with its absolute standards, beginning with the truthfulness of God, it negates, judges and damns art.This clearly begins a new critique of morality, and of Christianity, but also offers a view of something else, something important. First, he tells us that the Christian world view is a moral world view. There maybe other moral points of view, there surely are, but the Christian view is the most thoroughgoing example of a moral view. As such, it demands absolute standard, especially truthfulness. This in and of itself is a key to understanding him. As part of the Genealogy, Nietzsche writes that the question which really guides his later work is Why value truth? Is truth valuable in and of itself? Kant thought so. Is truth valuable because the truth is useful? But then it should not be valued if it is not useful. No, it is the unrelenting, unyielding insistence on truth that lies at the heart of the matter.
This world view eliminates, makes impossible other world views, especially artistic ones. Now if we read Nietzsche as valuing the arts above all, we can get a totally new way to read the Genealogy: This is not praising the brute nobles of old, but opening up the possibility of a different world view, by showing that truth is not the only way, morality is not the only way. We can value this world, this life aesthetically, as a work of art, nay, as a work of literature, with all that that implies. It is not the warriors of old that Nietzsche truly admires, but the artists, the brilliant, the wonders.
Truthfulness is hostility to art and to life, claims Nietzsche. But why? He claims that he understood that Christianity was hostile to life long before:
Behind this mode of thought and valuation, which must be hostile to art if it is at all genuine, I never failed to sense a hostility to life -- a furious, vengeful antipathy to life itself: for all of life is based on semblance, art, deception, points of view, and the necessity of perspectives and error.[italics added]Here is an interesting claim: Life is art, and art is deception, a lie, a distortion. If you think that truth is good, then you think he is damning life. But if art is wonderful, then this vision of life is wonderful, too. And I think he may well be right: the story we tell ourselves about our life, or about the events of day to day, did not happen as we remember. We tell ourselves a story, and it is as interesting and important as it is false. And the story we tell ourselves alters as life goes on, embellishing, and distorting, giving events meaning and significance. We focus on certain features, and ignore others, just as we do when we interpret a work of literature. But it is literally false, it did not happen as we remember it, its meaning is not in the events, but in the telling, in the significance we give it. Our life is a lie. Sometimes painful ("My mother never loved me"), sometimes joyful ("I found my one true soulmate!"). Art does not have to have a happy ending. We can also go back, and rethink what happened to us, the events that shape us, reinterpret our very lives. And when we do, it is our life that actually changes.
But the moral view, the Christian view,
was from the beginning, essentially and fundamentally, life's nausea and disgust with life, merely concealed behind, masked by, dressed up as, faith in "another" or "better" life.If this life is a preface for another, better world, be it Heaven or Nirvana, what does that say about this world, this life? The more you long for a better place, the more you damn this one. the more you long for peace, for rest, the more you show your true view of this life: toil, pain, suffering. And that is to view life itself as something essentially bad. That is life's nausea: this life makes you sick, you just want it to end. The vision of this life as a punishment for original sin is just an example of this train of thought: Life interpreted as a punishment. But who could think that, if they had a fundamentally positive view of life?
So Nietzsche is yearning for a world view that makes this life valuable, worthy, wonderful, and finds that possibility in art, in a different value scheme than the moral value scheme. To the extent that your moral view, your Christian view, does not reject this world, but revels in it, Nietzsche has less of a problem with it. To the extent that your world view makes way for art, values the deceptions that make our life as we live it, Nietzsche is not arguing with you. When you love this world as it is (Ha!), bad and good, true and false, differing view points and all, then you may be living as Nietzsche hoped.
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