- 29 Oct 2017 20:15
#14857285
Why does Marxist thinking obsess over efficient cause and ignore the rest of reality?
Life is a process, not a conclusion.
There is no final one; revolutions are infinite.
Marx is obsolete.
-RT
In Physics II 3 and Metaphysics V 2, Aristotle offers his general account of the four causes. This account is general in the sense that it applies to everything that requires an explanation, including artistic production and human action. Here Aristotle recognizes four types of things that can be given in answer to a why-question:
The material cause: “that out of which”, e.g., the bronze of a statue.
The formal cause: “the form”, “the account of what-it-is-to-be”, e.g., the shape of a statue.
The efficient cause: “the primary source of the change or rest”, e.g., the artisan, the art of bronze-casting the statue, the man who gives advice, the father of the child.
The final cause: “the end, that for the sake of which a thing is done”, e.g., health is the end of walking, losing weight, purging, drugs, and surgical tools.
All the four (types of) causes may enter in the explanation of something. Consider the production of an artifact like a bronze statue. The bronze enters in the explanation of the production of the statue as the material cause. Note that the bronze is not only the material out of which the statue is made; it is also the subject of change, that is, the thing that undergoes the change and results in a statue. The bronze is melted and poured in order to acquire a new shape, the shape of the statue. This shape enters in the explanation of the production of the statue as the formal cause. However, an adequate explanation of the production of a statue requires also a reference to the efficient cause or the principle that produces the statue. For Aristotle, this principle is the art of bronze-casting the statue (Phys. 195 a 6-8. Cf. Metaph. 1013 b 6–9). This is mildly surprising and requires a few words of elaboration. There is no doubt that the art of bronze-casting resides in an individual artisan who is responsible for the production of the statue. But, according to Aristotle, all the artisan does in the production of the statue is the manifestation of specific knowledge. This knowledge, not the artisan who has mastered it, is the salient explanatory factor that one should pick as the most accurate specification of the efficient cause (Phys. 195 b 21–25). By picking the art, not the artisan, Aristotle is not just trying to provide an explanation of the production of the statue that is not dependent upon the desires, beliefs and intentions of the individual artisan; he is trying to offer an entirely different type of explanation; an explanation that does not make a reference, implicit or explicit, to these desires, beliefs and intentions. More directly, the art of bronze-casting the statue enters in the explanation as the efficient cause because it helps us to understand what it takes to produce the statue; that is to say, what steps are required to produce the statue. But can an explanation of this type be given without a reference to the final outcome of the production, the statue? The answer is emphatically “no”. A model is made for producing the statue. A mold is prepared for producing the statue. The bronze is melted and poured for producing the statue. Both the prior and the subsequent stage are for the sake of a certain end, the production of the statue. Clearly, the statue enters in the explanation of each step of the artistic production as the final cause or that for the sake of which everything in the production process is done.
https://plato.stanford.edu/entries/aris ... ty/#FouCau
Causality is tested by experience as precept, not concept.
Mario Bunge explains that, according to Hegel, "cause and effect are but the two poles of the interaction category, which 'realizes the causal relation in its complete development.' Besides, in Hegel's system of objective idealism, the category of interaction enjoyed an ontological status, whereas Kant had treated it, alongside the remaining categories, as a purely epistemological element, and even as prior to experience. . . . Hegel held nature in contempt," Karl Marx and Friederich Engels who were Hegel's pupils, stood on his toes rather than on his shoulders. They turned Hegelian dialectics upside down by postulating the primacy of "matter-in-motion" asymptotically reflected by mental processes. Their ambitious aim was "not merely to understand the world but to change it." They proclaimed human "experience" as the sole arbiter and the ultimate test of any "truth" whatever. But in "testing" their "truths" via dialectical materialism, they ignored the hidden ground underlying all their figures of "experience" - the visual assumptions of Western "sciences" and "humanities" alike.
In his Dialectics of Nature, Engels outlines the Marxian concept of causality: https://www.marxists.org/archive/marx/w ... /index.htm
"This music is worse than it sounds," for it is played literally by eye without ear. Although its epistemology is dialectical, its ontology still rests on abstract Greek Nature. Marx and Engels saw conflicts of old figures as creating grounds for each other while they remained oblivious of the new information surround that had transformed their assumptions. They were attempting to match the concepts of an earlier age to the experience newly visible in the "rear-view mirror" of the 19th century. They were unaware that precepts of existence always lie behind concepts of Nature. Their hidden hang-up was the visual bias of all "objectivity," whether "materialist" or "idealist." They also ignored the acoustic "message of the birds" - the output of any process, biological or psychic, always differs qualitatively from the input. There are no "through-puts" or connections between processes but only gaps or interfaces for "keeping in touch" with "where the action is." When the "play" between the wheel and the axle ends, so does the wheel. While the "subjectivist" puts on the world as his clothes, the "objectivist" supposes he can stand naked "out of this world." The ideal of the rational philosophers still persists: to achieve an inclusive "science of sciences." But such a science would be a monster of preconceived figures minus grounds. No "objective" dialectics of Nature or of science as visually ex-plainable can stand up to the resonant interface with the existential. For "testing the truth" is not merely matching by congruence or classification; it is making sense out of the totality of experience- a process of pattern recognition that requires not only concepts but active perception by all the senses. Today, as "hardware" is transmuted into pure information by the process of "etherialization," the "inner" and the "outer" merge- thinking becomes doing.
-Marshall McLuhan, Media and Formal Cause
Life is a process, not a conclusion.
There is no final one; revolutions are infinite.
Marx is obsolete.
-RT
Close encounters with ∞Infinity∞
"So much joy I cry, so much pain I laugh."
The ink of the scholar is more sacred than the blood of the martyr.
Remember, you need more than one note to make beautiful music.
Love is the missing link!
"So much joy I cry, so much pain I laugh."
The ink of the scholar is more sacred than the blood of the martyr.
Remember, you need more than one note to make beautiful music.
Love is the missing link!