Sunday, May 4, 2008

Project Research

I see creating pieces of art as a way of resolving moral dilemmas. I am faced with different situations everyday, I must empathise with others. What is it that makes me decide what I perceive as right and wrong?
Working backwards from a decision made it is interesting to try and work out what the possible influences of the outcome were.
In my work I am interested in testing the validity of my arguments. I research the basis of an idea, predominantly by looking at philosophical reasoning.

Kant

The categorical imperative is the central philosophical concept of the moral philosophy of Immanuel Kant, and of modern deontological ethics. Kant introduced this concept in Groundwork of the Metaphysic of Morals. Here, the categorical imperative is outlined according to the arguments found in his work.

Kant thought that human beings occupy a special place in creation and that morality can be summed up in one, ultimate commandment of reason, or imperative, from which all duties and obligations derive. He defined an imperative as any proposition that declares a certain action (or inaction) to be necessary. A hypothetical imperative would compel action in a given circumstance: If I wish to satisfy my thirst, then I must drink something. A categorical imperative would denote an absolute, unconditional requirement that exerts its authority in all circumstances, both required and justified as an end in itself. It is best known in its first formulation:

"Act only according to that maxim whereby you can at the same time will that it should become a universal law."

He expressed extreme dissatisfaction with the moral philosophy of his day because he believed it could never surpass the level of hypothetical imperatives. For example, a utilitarian would say that murder is wrong because it does not maximize good for the greatest number of people; but this would be irrelevant to someone who is concerned only with maximizing the positive outcome for themselves. Consequently, Kant argued, hypothetical moral systems cannot persuade moral action or be regarded as bases for moral judgments against others, because the imperatives they are based on rely too heavily on subjective considerations. A deontological moral system based on the demands of the categorical imperative was presented as an alternative.

Plato: The Allegory of the Cave, from The Republic
Plato, the most creative and influential of Socrates' disciples, wrote dialogues, in which he frequently used the figure of Socrates to espouse his own (Plato's) full-fledged philosophy. In "The Republic," Plato sums up his views in an image of ignorant humanity, trapped in the depths and not even aware of its own limited perspective. The rare individual escapes the limitations of that cave and, through a long, tortuous intellectual journey, discovers a higher realm, a true reality, with a final, almost mystical awareness of Goodness as the origin of everything that exists. Such a person is then the best equipped to govern in society, having a knowledge of what is ultimately most worthwhile in life and not just a knowledge of techniques; but that person will frequently be misunderstood by those ordinary folks back in the cave who haven't shared in the intellectual insight. If he were living today, Plato might replace his rather awkward cave metaphor with a movie theater, with the projector replacing the fire, the film replacing the objects which cast shadows, the shadows on the cave wall with the projected movie on the screen, and the echo with the loudspeakers behind the screen. The essential point is that the prisoners in the cave are not seeing reality, but only a shadowy representation of it. The importance of the allegory lies in Plato's belief that there are invisible truths lying under the apparent surface of things which only the most enlightened can grasp. Used to the world of illusion in the cave, the prisoners at first resist enlightenment, as students resist education. But those who can achieve enlightenment deserve to be the leaders and rulers of all the rest. At the end of the passage, Plato expresses another of his favorite ideas: that education is not a process of putting knowledge into empty minds, but of making people realize that which they already know. This notion that truth is somehow embedded in our minds was also powerfully influential for many centuries.


Is a resident of the cave (a prisoner, as it were) likely to want to make the ascent to the outer world? Why or why not? What does the sun symbolize in the allegory? And now, I said, let me show in a figure how far our nature is enlightened or unenlightened:--Behold! human beings living in an underground den, which has a mouth open towards the light and reaching all along the den; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see before them, being prevented by the chains from turning round their heads. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised way; and you will see, if you look, a low wall built along the way, like the screen which marionette players have in front of them, over which they show the puppets.

Whereas our argument shows that the power and capacity of learning exists in the soul already; and that just as the eye was unable to turn from darkness to light without the whole body, so too the instrument of knowledge can only by the movement of the whole soul be turned from the world of becoming into that of being, and learn by degrees to endure the sight of being and of the brightest and best of being, or in other words, of the good.



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