19 August 2008

Absence - in Japan

I should probably just explain my prolonged absence recently - I’ve been back in Japan! I’m here until early September and have been going to all manner of places, including up to Akita International University (AIU) and hitch-hiking back down to Kumamoto where I’m staying with a host family. The weather is horribly hot at times (but sprinkled with awesome thunderstorms), and I’m enjoying making the most of my time practising Japanese. I’ll be off to Yakushima soon too, so hopefully I will have some good experiences to write about that as well! Expect some nice posts in the coming month or two ^_^.

tsurumine-purikura

Above: Purikura taken with my friends from Tsurumine High School

Oh, and here’s an awesome song by Daniel Powter from his new album ‘Under the Radar’. I think it only just came out, I picked it up in Tsutaya after listening to it in-store. I never bought his debut album, but of course, I heard his famous song ‘Bad Day’ countless times. Anyway, the song is called ‘Next Plane Home’. Check it out ^_^.

Download Daniel Powter - Next Plane Home

んじゃ、また!

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21 June 2008

Ricoh GX100

ricoh-gx100-1So I finally succumbed and bought a new camera in preparation for my next adventure in Japan. I very had nearly forsaken my photographic preferences for a P&S camera (that’s ‘Point and Shoot’ to all those who don’t really care much for the likes of AE Lock and Aperture Priorities), but luckily at the last minute I found the wonder of the Ricoh GX100. This is a compact camera made for photographers, by photographers (or so I hear), but has many features that are usually only found on D-SLR cameras (Digital Single Lens Reflex - the big cameras with interchangeable lenses). So now I can take my little GX100 with me wherever I go and still have the flexibility to do a bit of creative photography when I don’t just need to take snaps of friends at the latest gathering.

So what was *my* reason for a new camera? That should be the question everybody asks themselves on the road to forking out a hefty wad of dosh. My camera history includes an old Ricoh SLR, the Olympus C-5060z and the Olympus C-7070z (because the former got stolen). While my C-7070z takes great pictures (the pictures of the GX100 in this review are taken by it), there are two main issues I have with it. One, recently when I power on, it turns itself off and on in succession several times, almost as if ‘warming up’ which leads to much frustration and many missed shots. Two, the camera, compact though it already is, it not compact enough. It still requires its own shoulder strap style camera case. In the end, this meant I didn’t take it out with me much unless I went out with the sole aim of taking pictures (which wasn’t often). Hence, I needed a pocket-sized camera I could happily taken with me at a moment’s notice. But at the same time, I didn’t want to sacrifice the ‘fun’ in photography which, for me, involves playing with settings and experimenting with picture taking. A P&S camera would destroy all that with its ’smart’ auto-everything.

The guy over at Luminous Landscape in his Canon G9 review said it for me:

The only great camera is the camera that’s there with you when the light happens.

First up, I should mention that this isn’t going to be a technical review of sorts. I’ve listed some good reviews at the bottom of this post for that matter. Rather, I just want to give my impressions of this camera and some sample pictures. I’ll probably update it as time goes by as well. So, the Ricoh Caplio GX100 has a 10 megapixel CCD and a 24-72mm lens (F2.5-4.4 aperture) as well as RAW DNG support. Here it is:

ricoh-gx100-2

You can see the large grip and pop up flash. Unlike most compact cameras, this one feels great to hold. It sits in your hand snugly and doesn’t slip. You feel like you’re still *doing* photography, but that may only make sense for people who have used SLR cameras. For the average consumer though, it’s just better grip than other P&S cameras. The pop up flash is interesting. You press a button to the side of it to flip it up. I can only speculate at why it is in this position, but my best guess would be that it avoids the notorious problem of ‘white spots’ in the pictures. Usually when the flash is close to the lens, white spots appear due to the light from the flash. Again, this is only my guess. I haven’t seen white spots in my pictures yet.

ricoh-gx100-3

The above picture shows the menu layout on the Ricoh GX100. Notice the lack of a viewfinder and large screen in its place. There is an optional viewfinder which sits in the hotshoe sync (for attaching external flash devices - another useful feature), but it costs about an extra £100 so I didn’t buy it. But it is worth noting that if you like ‘traditional’ photography and looking through a viewfinder, it is possible to do so with this camera. Notice also the rubberised grip next to the zoom function - this allows your thumb to sit comfortably while holding the camera. The ‘ADJ’ dial and the dial by the shutter button allow you to alter the shutter speed and aperture in manual mode - really quick and easy to use! The program dial on top is a little tricky to turn, but it has two ‘My’ functions. This allows you to save your favourite settings to use them quickly every time. I set one to Aperture priority Jpeg shooting and one to Manual Raw mode shooting, both with an exposure compensation of -0.3 and a slight increase of saturation and decrease of contrast - again, just personal preferences, but it shows that you can tweak the settings to take your pictures as you like them.

The actual settings menu is really, really easy to navigate. My old Olympus wasn’t bad by any means, but the Ricoh menu takes the cake. I don’t need to enter the menus much, as I use my own settings on the ‘My’ mode, but even when I do, it takes no more than a few seconds to change the setting I need to. This is something that needs to be tried in store to appreciate. If you’ve ever become frustrated at the menus on cameras being too complicated, you might find this a breath of fresh air. Also, as mentioned the camera sports Aperture Priority mode (setting the aperture - controlling the amount of light hitting the sensor - and having the shutter speed selected automatically), as well as full Manual and Program modes. No Shutter Priority though (setting the speed the picture is taken and having the camera select the aperture). I tend to find myself working in full manual mode most often recently. It’s been a while since I’ve done that and photography became a lot more fun because of it! Another great feature I’d never used before but now use everyday is the live histogram feature. I can’t believed I ever lived without this! The camera also has a grid feature, which divides the image up into thirds to aid your composition!

histogram-example

Basically in the histogram, the left side of the image shows shadows, the right hand side shows highlights and the middle shows midtones. If you over-expose your image, the highlights become ‘clipped’, meaning the camera cannot capture the full tonal range because the scene is too bright and you will have bleached-white areas. Vice-versa, if the image is underexposed, the dark areas appear as deepest black. Dpreview have a clear explanation of how the histogram works. Take a look! Histogram explanation

There are the pre-programmed scene modes such as portrait, night mode (etc.) but I don’t use these. There is also a bizarre mode that allows you to correct the skew (the angle of the picture). It’s used when taking pictures of other pictures and posters (etc.) so that, if you get the angle incorrect you can correct it to a nice, square image. I haven’t used it yet, but I imagine if you need to take pictures of information (such as bus timetables and such), it could be very handy. Also interesting is the ability to take sequential shots and stitch them together. Basically, the camera takes lots of small pictures and puts them together like a sop-motion slide show. Useful if you’re into animation and want to capture movements body positions in order to see the flow, but also just for having fun. You can also shoot in square format (1:1) like medium-format cameras which allows for another creative dimension.

ricoh-gx100-4

I mentioned the raw mode briefly. This is very important on high end cameras as it allows you to shoot in better detail and they are easy to correct afterwards. In other words, you can take the images shot in raw mode into Photoshop or other similar programs and correct things like the exposure, saturation, brightness (etc). By shooting directly in Jpeg format, you automatically lose some of the detail in the picture. But, for those who are not into post-processing of photos, I’m happy to say that the Jpeg mode offers great images anyway. I find it hard to match the Jpegs when I try to correct my raw images, but that says more about my ability as a photographer than anything else. I still have a lot to learn. With the latest high speed SDHC memory card (I bought a Sandisk Extreme III SD 4GB Card - the maximum capacity this camera can take), shooting raw takes about 4 seconds to save each picture. This is unacceptable for some people, but I haven’t found it a problem yet. I was out shooting in raw format for the whole day just recently in Whitby (including taking pictures of friends) and I wasn’t bothered by the small time lag. That said, you certainly can’t take pictures in raw mode in quick succession with this camera, so it’s best to use it for composing good pictures and taking your time (which I find actually helps me to think about the composition more!) Also, the raw mode pictures take a noticeably longer time to save without a good memory card. I tried a standard SD card while I was waiting for my Extreme III card to arrive and it took around 2 or 3 seconds more to save each picture. So definitely worth buying a fast memory card!

Low light photography has always been the bane of my life with digital cameras. I recently found out why. Basically, the sensors in these sort of compact cameras are small. The smaller the sensor, the more noise (you can see the pixels in the image) which isn’t pleasant for most people. D-SLR cameras have much bigger sensors (bigger chips) and so can take good quality pictures up to much higher ISO settings. ISO is the speed of the ‘film’ (in traditional cameras), so ISO 80 is a slow speed film with a fine grain (you can’t see the pixels), and so good for bright, sunny situations as it requires more light. ISO 1600 (for example) is a much faster speed film and so good for fast-moving objects and low light situations. But the compromise is that the pictures become ‘grainy’ (you can see the pixels).

ricoh-gx100-5

As noted elsewhere, with the Ricoh GX100, anything over ISO 400 is reputed to be unusable as the noise is too high. ISO 400 is acceptable, I feel, and has a rather nice grainy, ‘rustic’ quality to it. ISO 80-200 are fine, but I almost always shoot in ISO 100 for good quality pictures. You’ll need a tripod for night photography, but this camera also has the camera shake correction technology to neutralise the shake from your hands. I find this works quite well and I can take better pictures with no flash indoors. The flash, I’m sorry to say, isn’t so good. It was corrected a little with a firmware update this March and is acceptable now, but without the firmware it’s far too bright in low-light situations. Alas, there is no flash EV correction function either (to control the strength of the flash - something that I used often on my Olympus), so I’m a little disappointed with that. It does have a ’soft-flash’ setting though. The again having said all that, flash pictures from compact cameras in general look awful anyway without an external flashgun, so I don’t use flash much.

An area that this camera excels in is street photography. I took the camera through its paces the other day on a bright, sunny afternoon in Leeds. Shooting both in aperture priority and manual in Jpeg format, I could snap snap snap away casually and get sharp, colourful images back. Definitely something to consider if you like this sort of photography! There is also a ’snap’ setting which uses the hyperfocal point to remove the lag in automatic focus. Basically this means the camera only focuses at a certain point, but much more of the picture is actually in focus due to the depth of field. This enables you to take photos out on the street really quickly and get them coming back sharp!

Yet another area it excels is in Black and White photography. The aforementioned grain is a bonus here as the images take on a gritty look. I’ve found myself starting to take more black and white photographs with this camera and enjoying it.

I haven’t used the macro mode much yet, but I do like macro photography, so I’m happy this camera has a great macro mode (1cm in wideangle and 4cm in telephoto). Coupled with manual focus (at the touch of a button, I might add!), it’s great for close-up work. The camera also has a movie mode, but he quality is only average in my opinion. The 24mm wideangle lens is not to be sniffed at. I’ve always gone for wideangle lens cameras (usually 28mm), as I find they just offer so much more flexibility in photography. So using a 24mm lens has been even better! It has a little barrel distortion at the full 24mm, but it’s easily correctable in Photoshop with a plugin like Ptlens. I’d happily trade off the telephoto (long) end of the lens for extra width, and that’s exactly what I did. 72mm at the telephoto end of the lens is short, so don’t think about zooming in especially far with this camera. It’s all about getting up close. I’ve found though that I’d ideally like a little more in the telephoto end or a larger aperture at telephoto to give a better bokeh effect (the blurring of the background/foreground). Oh well, I guess I can’t have it all.

Battery life is moderate. A full day’s shooting lasts, **very approximately**, 6 or 7 hours with the camera on all the time. I bought a second lithium battery, but it’s worth noting that the camera takes 2 AAA batteries for those times you are in a pinch (though I doubt they would last long).

**********

So let’s take a look at some pictures shall we?

http://photo.michaeldowney.net/#1

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Dust Problem

Some people have reported problems with this camera (among others) that dust gets into the sensor during normal usage. This results in dark spots or blotches in pictures. The only solution has been to send the camera back to Ricoh for cleaning, but I found this novel thread a while ago that claims to have a solution for dust problems on a similar camera. Sucking! Maybe it will work for the Ricoh? I don’t now if it’ll get dust off the sensor, but give it a try if you’re having problems. I’ll just have to pray I don’t have them at some point in the future.

I’ll copy and paste the content that ‘Dunakeszi’ wrote:

Hello All,

coming back from a London vacation I also experienced dust between the lens elements of my G7. Needless to say I’ve been hating Canon since then but after reading all the articles about this topic in the net I just found the SOLUTION at least for my own camera: :)
#1)

-I removed the silver ring around the lens, turned the camera on and set the lens to FULL telephoto, then cleaned carefully ALL the visible dust particles around the lens and the front of the camera. Take the time to make a nice job here! No any impurity should remain around the lens!
#2)

-When it was done, I set the lens to wide angle, then I put front of the lens into my mouth (don’t laugh! :), closing it carefully around with my lips.

After that I sucked the air slowly-continuously for couple of seconds thru the lens letting the air in the lens around the lens that I cleaned to spotless before as wrote!!
The result:
-No any dust particle can be seen on/in the lens now!

IMPORTANT!!!

-If you don’t clean the cam. BEFORE sucking the air thru the front of the lens you can even suck more dust in the camera!

-DO NOT throw air thru, ONLY suck!! The moisture you breath out can make it even worse!
Guys, I hope I could help to all of you!
Good luck!

Regards:
Dunakeszi

**********

Red Skies at Night review - Great review!
Phototropic review - Great video included in this review. It really gives you a feel for how compact and small this camera is!
Another review with sample pictures
Northlight Images review

Go on, read more related posts!

Unbelievable! There is nothing related at all?!

7 June 2008

Japanese csv database

Things have been busy on Knowing Nothing recently. Finally, after many trials and tribulations, I succeeded in adding a sidebar widget which allows you to display quotes. It’s the ‘Quotes Collection’ plugin from Srini’s Wordpress Laboratory. You can see it in action, modified slightly by me, displaying a random word from a rather swollen database of over 7800 that are listed as required for the Japanese Language Proficiency Test Level 1. Since it took me so long and was painfully tedious and frustrating, I want to document it for other people, should they encounter a similar problem. So today’s entry is very technical and uninteresting unless you are trying to deal with csv files or have an interest in phpmyadmin!

It was no small task to get it functioning, I can tell you! The problem wasn’t with the plugin, but what happens when the plugin takes the words from the database in phpmyadmin, an administration console for managing databases like the ones needed to power forums or blogs like mine. Let me clarify: There are two ways to add words (or ‘quotes’). You can either insert them manually, one by one, through the admin interface in Wordpress, or you import a database - a csv (comma separated values) file - containing the items you want to display.

Of course, I wasn’t going to enter 7830 words in manually, so I decided to create a csv file and upload it through phpmyadmin. I used an excel file containing a list of the words for JLPT 1 that some kind soul created and uploaded somewhere (I forget where I downloaded it as it was some time ago).

You can download the JLPT 1 list of of words here.

I copied and pasted the list into notepad and set the ‘find and replace’ function to find all spaces and other characters and replace them with the relevant characters so that the csv file would function correctly. To cut a long, boring story short, I had to get the structure to something like this:

“挨拶”,”マイク”,”Ah!;Oh!;Alas!”,”yes”
“爆弾”,”マイケル”,”ohho”,”yes”
.
.
and so on

The first entry in Japanese, separated by a comma represents the ‘quote’ column. The second entry in Japanese, the ‘author’. The third is the ’source’ and the fourth is the ‘visible’ column. This is how a csv file works - I tell phpmyadmin how to separate the list of terms. In the case above I used commas to separate each field and quotation marks to enclose each item. Each new entry is on a separate line.

When I uploaded this to phpmyadmin, it worked. But when the Wordpress plugin tried to take the database entries and display them on my website, they appeared scrambled. For some reason, even though the Japanese text displayed correctly in phpmyadmin, it looked like a mess of characters on my front page. But I noticed that, when I input an entry through the admin interface in wordpress, it displayed correctly on my website, but became jumbled up in phpmyadmin. Take a look at the screen shots below:

phpmyad2

The screen shot above taken in phpmyadmin shows the Quotes Collection database. Entry 21 shows the entry I uploaded via a csv file - it displays correctly in phpmyadmin. Entry 20 is an entry I added via the admin interface for the Quotes Collection plugin via Wordpress. Notice entry 20 appears scrambled in this phpmyadmin screen shot but, in the screen shot below and on my main blog page, it appeared correctly showing the Japanese text.

phpmyad3

The screenshot above is from inside wordpress in the Quotes Collection admin panel. Notice entry 21 that I added via the csv file in phpmyadmin is now scrambled. But entry 20 that I added normally though the wordpress admin interface displays correctly. Also notice that this is only affecting Japanese characters - none of the romanised parts are affected.

So what could I do? I had to upload all 7000 some quotes and in order to do so, it seemed that I needed to put the scrambled characters into the database so, conversely and rather strangely, they would render correctly on my blog. And that’s just what I did. I copied and pasted all the entries in massive chunks into the Quotes Collection admin panel and ‘added’ them as single quotes. This resulted in huge ‘quotes’ of messy, scrambled text. Then, I copied the newly scrambled text back into excel, separating the columns again and adding the relevant ’spacing’ characters. The reason I needed to manually add the spacing characters in excel is that excel cannot export csv files containing Japanese characters.

My scrambled excel file is here to download, for reference.

And so:

/嗚呼/|/ああ/|/Ah!; Oh!; Alas!/|/yes/
/相/|/あい/|/together; mutually; fellow/|/yes/
/愛/|/あい/|/love/|/yes/

You see the scrambled characters instead of Japanese text. The / enclose each item and the | is the equivalent of a comma. I did this because some of the words had commas in them and so, upon importing the database, some entries would become corrupted. Using / and | as unique characters ensured this did not happen.

So after doing that for all the quotes (it took me about 12 huge ‘chunks’ to convert all the entries to jibberish), and adding the spacing characters in excel, I copied the entire lot back into notepad. This time, I had jibberish for Japanese characters, but all correctly formatted in the csv style. All that was left to do was to use find and replace to remove all the spaces between the ‘columns’ and I ended up with the following csv file for the JLPT 1 wordlist:

Download JLPT1 csv wordlist

*Phew!* What a lot of tedious work! But with this new file, once uploaded, it worked correctly. As you can see in the screen shot below, the entries in my database in phpmyadmin were scrambled, but displayed correctly in the admin console in wordpress and, most importantly, on my blog.

phpmyadmin1

Unfortunately, the database is so big that it has seemingly broken the admin interface in wordpress, so I cannot get a screen shot showing the entries displaying correctly. However, the widget showing the Japanese words on the sidebar should be testament enough!

Good luck to anyone who wants to attempt the same thing and feel free to use the files I created to save yourself the hassle of creating a csv file!

Go on, read more related posts!

30 May 2008

Spider art and plucking

spider-art-1.jpgIn a recent post about my attempts at some high-energy Spiderman Para Para, I mentioned one of the two artists, Hayoung Joo, was doing artwork based on the spider theme. We became better acquainted last week when I was summoned to her studio to once again lend my hand ‘in the name of art’. But it wasn’t actually my hand that I would be lending on this occasion. What’s more, I wouldn’t even be lending her anything…

Just past the University Union, up towards Cromer Terrace lies one of many redbrick buildings. This one in particular where Hayoung spends much of her time is devoted entirely to art projects. Each of the many rooms in the 3-storey house has a different feel to it, being decorated with half-finished projects and littered with various peculiar objects that wouldn’t usually be found in a house. It doesn’t take much to realise that that the art students have claimed this building for their own.

Hayoung’s studio is on the top floor, brightly lit by a skylight and another square window opening up and out on the street below. A couple of sets of shelves and bookcases line the left wall, filled with grubby paints pots and ink bottles, brushes and books in Korean and English. On the opposite wall is a display of her most interesting photography and artwork showing her current themes of tattooing and hair-plucking. It’s not for the faint-hearted, holding nothing back in its array of provocative and unusual imagery. Not just that, but Hayoung insists on showing me a video of her work which consists of people being plucked and recording their ‘plucked voices’. All those ‘oohs’, ‘ahhs’ and sighs of anticipation and simmering fear captured as the hair snaps from the skin. Art. *nods.

desire1.jpg

Looking back to the left wall next to the bookcases, I finally notice the collection of small, rectangular pieces of paper stuck carefully to the wall. Translucent yellow coloured paper with various patterns on them. It was only upon taking a closer look that I realised what they were, and what I was to become. They were waxing strips! Furiously ripped-out hairs all splayed out and hung up in a curious display. The more I looked, the more the display seemed riddled with the pain suffered by its victims, but it remained strangely alluring…

I had known in advance that Hayoung was after my hair. We’d been discussing it around the dinner table when her and several other people had come over to celebrate the end of the ‘Show your Gestures’ art exhibition. I had declined at that point and had her settle for just giving me a temporary tattoo. But having come this far to her studio, I knew I wasn’t going to get away lightly…

Before I knew it, 4 strips of my finest grade-A leg-hair were plastered to her cold studio wall, extending her ‘exhibition’ another column or two. She promises me my lost warmth will re-grow and shouldn’t be any less than before, but we’ll see about that. Surprisingly, it wasn’t anywhere near as painful as I thought. Much more painful was the sadistic peeling of the remaining ends of the wax strips from my red thighs by Hayoung’s friend. She seemed to be enjoying it, along with labelling my freshly waxed and reddened area as ‘chicken skin’… o.O;

Not content with ripping hair from me, she also gave me my first taste of a metrosexual makeover. I was filmed while her friend plucked a few of my eyebrow hairs. I didn’t utter a sound as it was done, which notably disappointed Hayoung, and I warned her not to dub any strange voices over my video afterwards for added ‘effect’… Particularly those of my friend who also had his stomach plucked and made no end of amusing comments.

Spider art

Enough with the plucking. Here’s what I was really fascinated by, Hayoung’s spider artwork. Done with a traditional calligraphy brush and ink on what looks to be rice paper. They have a dark, gothic feel to them and seem a little reminiscent of doodlings with the flowing strokes and dark, patterned lines. Hayoung even gave me permission to use some of them in making a new banner, which I’ll get right onto. ^_^

One of my favourite designs is below.

spider-art-2

I’ve compiled a small selection of some of, in my opinion, her best drawings. Opinions?

spider-art

And finally, her website. Some really interesting artwork and concepts there!

Hayoung Joo’s website and portfolio

Also, as a slightly random addition, I’ve uploaded a special live version of Oingo Boingo’s song ‘Spider’ that I acquired recently. It’s quite rare as it was taken from a fan-recording of a concert, but it’s still good quality!

Download Oingo Boingo - Spider (Live)

Go on, read more related posts!

23 May 2008

Hume’s Moral Philosophy

david_humeIn his ‘Treatise’, Hume targets rationalism and is most noted for saying that ‘reason is the slave of the passions’ and challenging the thought held that morality is discovered by the use of reason. Hume is an empiricist, and his ideas about the passions are said to have influenced Kant in his rationalist argument for the Categorical Imperative.

Rationalism says that reason and sentiment (also known as the passions) are in a constant fight against one another to control our actions and that, in the end, it is reason that triumphs over the transient nature of the passions (our emotions and feelings). Thus it is reason that is the source of our justification for actions and in our determining which actions are moral. In direct contrast, Empiricism says that experience, especially that gained by the senses, is the main method used in the formation of ideas. As such, says Hume, morals are derived from sentiments - feelings or approval or disapproval that are felt towards some action or person. Although Hume does say that reason is necessary to discover the facts about different situations and to organise general social rules in the greater scheme of things, for an action to have moral worth, it must be based on a desire or ‘passion’ which motives us to act.

“Reason is, and ought only to be, the slave of the passions and can never pretend to any other office than to serve and obey them” (T2.3.3, p753)

Hume says that reason has no part at all in determining our ends

Some other philosophers have held that the necessity for us to act morally is, neither by reason nor the senses, but by divine revelation (God’s will). Others hold that it is by reflection on our conscience and the structure of human nature that we are required to act morally. Hume agrees that it is down to our nature as human beings (the ability to feel both pleasure and pain, the interdependence on other people such as our family, friends and co-workers) that makes us have moral obligations. Furthermore, Hume distinguishes between morality being something that is forced upon us by society (politicians or governments) in order to keep us in line and the natural inclination to act in a moral manner. He says that it must be the latter, because otherwise where would such concepts of virtues and acting in a correct manner come from? If we do not have the natural inclination to act humanely as part of a community to begin with, we would not be able to conceive of further social rules to govern societies.

On the Passions, the Will and Morality

So Hume sets out to prove that (1) “reason alone can never be a motive to any action of the will;” and (2) “that it can never oppose passion in the direction of the will” (T2.3.3, p752). He goes on to asset that reason is motivationally inert; while it may help us with a great many things, from mathematics to logic, probability and other abstract relations of ideas and the causal relations of real objects in the world, it does not cause nay action. Because reason cannot produce a motive, neither can it oppose a motive. This is because, in order to oppose a motive, there must be another motive which acts against it. But we have said that reason does not produce any motive, so be the same token it cannot produce an opposing motive.

There are two instances where our passions may be called unreasonable: “First, when a passion, such as hope or fear, grief or joy, despair or security, is founded on the supposition of the existence of objects, which really do not exist. Secondly, when in exerting any passion in action, we choose means insufficient for the designed end, and deceive ourselves in our judgement of causes and effects” (T2.3.3, p753-4). He goes on to make another famous claim:

“It is not contrary to reason to prefer the destruction of the whole world to the scratching of my finger” (T2.3.3, p754).

Here Hume is saying that reason does have a subordinate role in our actions; it tells us how we can satisfy our passions. If our passions are based on false beliefs (for example, believing in objects that aren’t really there) or are based on mistakes in ‘means-end reasoning’ (coming to false conclusions about the effects of our actions), then we will end up will passions (desires) to do things which are contrary to reason. In other words, we make errors in our judgements about situations (we are only human after all), and this gives rise to feelings that attempt to avoid those causes that will make us feel pain. Similarly, for pleasure, we judge that an action will give rise to pleasure and our emotion naturally extends itself to attain the pleasure. But note that it is not the passion itself that is unreasonable, but our judgement or ‘causal reasoning’ about the situation.

For example, I see a a glass of clear liquid and conclude that it is water and want to quench my thirst. But you convince me that it is actually ethanol and would not be advisable to drink it. Hence, my passion (the desire to drink the liquid) is based on a false supposition. As soon as I realise this falsehood, my reason directs me to a different passion, the desire not to drink it. So it is not reason that motivates me not to drink, it merely convinces me of my mistake. The motivation not to drink come from a different desire that urges me not to drink.

But what stops me from acting immorally or satisfying my many selfish desires if it is not reason that does so? Hume says it is not reason, but ‘calm passions’ or ‘calm tendencies’ that do so. ‘Violent emotions‘ are those we feel evidently, like the rush of anger when someone insults us or pang of jealousy when we see someone we like in the arms of other person. These are our obvious passions, but there are others: ‘Calm desires‘ might be things like benevolence and resentment, kindness to children (etc). Hume says that because these passions are ‘calm’ and do not cause much disturbance within us, so we often mistake them for reason, but they are nevertheless there. Even though they do not produce much emotion in our minds, they are there in our nature, such as the general willing to live harmoniously with others and the propensity for pleasure over pain.

He goes on to talk of the motivation of morals: “Morals excite passions, and produce or prevent actions. Reason of itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of reason” (T3.1.1, p756). Reason cannot motivate us to act, as we have seen, but moral judgements do cause us to act, so reason cannot be the source of moral good and evil. To elaborate on this, consider that we think of moral judgements as being worthy of praise and blame, but factual statements derived from reason do not incite such emotions. In other words, moral mistakes do not seem to be in the same domain as factual errors because we do not ascribe emotive responses like praise and blame to factual errors. Therefore moral judgements are not truth apt - they are not capable of being true or false because they are not facts or realities.

Morality is not based in facts; we don’t find evidence in the world for existence of good and bad facts or laws. They are all down to the passions, volitions and motives of individual agents. Virtue and vice are found by considering the thoughts and feelings we have as people and in the thoughts and feelings of other individuals. They may not be properties in objects, but dependent on the views of different people and our perspective as human beings (in the same way colours might be - see Moral Realism). In a famous passage Hume says:

“Take any action allowed to be vicious; wilful murder, for instance. Examine it in all lights, and see if you can find that matter of fact, or real existence, which you call vice. In whichever way you take it, you only find certain passions, motives, volitions, and thoughts. There is no other matter of fact in the case. The vice certainly escapes you, as long as you consider the object. You can never find it, till you turn your reflection into your own breast, and find a sentiment of disapprobation, which arises in you, towards this action” (T3.1.1, p761)

Further consider that, if morality were derived from reason, then any statements that we could suppose from reason would be subject to our moral judgements. For example, as mentioned in my lecture: “Young oak trees could be convicted of patricide, and animals could be convicted of ‘moral turpitude’ for mauling each other” (Dr. Lang). But clearly convicting animals or trees of immorality is insane, so it seems to point to the need for motives, or passions, in our actions for them to hold moral worth.

But we might reply to this by saying that reasons are limited only to beings that are capable of making judgements about situations. Animals and trees clearly are not.

Moral Sense

Hume later goes on to talk more about our moral sense and discrimination. He says:

“Morality…is more properly felt than judged of; though this feeling or sentiment is commonly so soft and gentle that we are apt to confound with an idea, according to our common custom of taking all things for the same which have any near semblance to each other” (T3.1.2, p762).

He then asks a general nature about the nature of the passions and says that “the impression arising from virtue [is being] agreeable, and that proceeding form vice [is being] uneasy” (T3.1.2, p762). Very basically, it is because of the very feeling we have when we take action in a particular situation that we call it virtue (a pleasurable feeling) or vice (an uneasy feeling).

But this view seems troublesome. Is acting on our feelings really a reliable way of viewing situations? We may see a man wearing black glasses and wearing a long overcoat hanging around a bank and feel threatened thinking he might be ready to rob the bank, but actually it turns out he is the security guard. Are feelings free from partiality and are they fine-grained enough for the wide variety of moral judgements there are? We may feel one type of ‘pleasure’ from eating good food to saving a drowning child?

Hume says that “it is only when a character is considered in general, without reference to our particular interest, that it causes such a feeling or sentiment as denominates it morally good or evil” (T3.1.2, p762). So to solve the problems above, Hume is saying that we must consider the person or situation in general, not just focussing on the feelings that we have in one particular situation.

The praise and blame that we attribute to an action are decided by the moral quality of the action. In other words, the motives behind the action: “all virtuous actions derive their merit only from virtuous motives, and are considered merely as signs of those motives”. But such motives must be natural motives, or principles. They must have something general, or independent of the situation at hand that makes them morally worthwhile. Hume says that:

“When any virtuous motive or principle is common in human nature, a person who feels his heart devoid of that motive, may hate himself upon that account, and may perform the action without the motive, from a certain sense of duty, in order to acquire, by practice, that virtuous principle, or at least to disguise to himself, as much as possible, his want of it” (T3.2.1, p 765).

Here we see Hume mentioning the possibility of acting form duty, but such actions would only be second best to acting from one’s natural motives.

However, what about in the case of lending someone money. What reason or motive do we have to repay the money? We cannot just say because it is the honest action to take because there seems to be no natural motive of honesty in the same way that there is for other motives. We don’t feel the need to repay the money out of self interest, nor in the interests of the public (as the deal may be done in secret). A dutiful motive to be honest seems to be irreducible, and Hume says that “the sense of justice and injustice is not derived form nature, but arises artificially, though necessarily, from education and human conventions” (T3.2.1, p767).

This is the distinction between ‘Natural virtues’ - traits useful to people whether or not they are living in a society, and ‘Artificial virtues’ - traits that emerge as useful in large social groups and where social cooperation is needed among people. Natural virtues are, by nature, better become they give us a sense of satisfaction, but artificial virtues benefit people with their widespread implications in a community. Hume says that the rules of justice arise from the selfishness and limited generosity of human beings and the tendency for situations to change and scarcity of external resources. As such, the motive of self-interest is switched for a motive of duty in these larger public situations due to the public good needed to be served.

Lastly, a brief note about what Hume says on Freedom. Hume is traditionally seen as a compatibilist about freedom. He argues that all human actions are products of causal necessity, but at the same time, we are all free. Just as the movements between material bodies are causally connected (a billiard ball striking another), so too are the connections between human motives and circumstances and behaviour causally linked.

Consider an individual who has killed another person. If the person did so on purpose, then according to Hume, they have an some enduring passion or character trait that is bad and that is the cause of their committing murder. But if they did so by accident, then the individual will not incur blame. As individuals, we have choice as to whether or not we act in a given situation, but are still causally affected by our passions and the determinations in our will. So ultimately, we have freedom to act or not to act, but are (in both a moral and general sense) still bound by causal laws - the two are compatible, hence ‘compatibilism’.

Problems for Hume

Hume seems to suggest that reason is theoretical reason - it can only give rise to our beliefs about the world, but not reasons for action. Passions are not like beliefs because they are not based on facts (are not truth-apt) - they motivate us to act. But why do we have to assume that reason is restricted to the purely theoretical domain? Why not say that there is a practical form of reason?

Just because Hume may have been right to say that passion always features in our actions, it does not follow that passion is always the source of one’s doing something. Can’t we distinguish between unmotivated desires and motivated desires? We have unmotivated desires like those of appetite and stretching, and also motivated desires which are the results of considerations about different things, for example, thinking about going on strike opposing a war. We are not motivated to go on strike in the same way we are to stretch out our arms when we wake up in the morning.

Also, what about cases of depression and people who do not have a strong will, or worse are apathetic and cannot actually feel emotion. Are we to label them as immoral because they do not have the correct passionate responses to circumstances?

Instrumentalism

Some people have labelled Hume as an instrumentalist, but it is debatable as to whether or not he was. But as a theory, instrumentalism looks more plausible than following Hume and denying reason any role in our moral judgements. For an instrumentalist, Hume’s claim that ‘reason is the slave of the passions’ allows that, not only does reason discover the means to our ends (the circumstances and causal links in different situations), it also requires us to take these means. An instrumentalist says that:

(1) there are no ends that we ought to have and no ends dictated by reason
(2) but for the ends that we do have, we ought to take effective measures to fulfil them

In other words, we ought to take the means to my ends. But, for Hume, both ‘ends’ (normatively unconstrained passions) and ‘means to ends’ (normatively constrained passions) are put into the same category and as such fall outside the scope of reason.

Furthermore, Korsgaard raises the possibility of irrationality in one’s actions. Hume does not account for this when he says that:

“The moment we perceive the falsehood of any supposition, or the insufficiency of any means our passions yield to reason without any opposition…whenever you convince me of my mistake, my longing ceases” (T2.3.3, p754)

Hume doesn’t speak of changing our behaviour once reason has shown us the flaw in our judgement because it’s ‘irrational’, he merely says our emotion ‘naturally extends itself’ to do some action. But if reason is supposed to be the slave of the passions, why does a discovery of a flaw in our judgement by reason cause our passions to change? What is the link between our passions ‘naturally’ changing and our reason discovering some logical flaw?

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Sources: Lecture handouts written by my lecturer Dr. Gerald Lang, The Stanford Encyclopedia of Philosophy and ‘Classics of Moral and Political Philosophy’ (2005) by Michael Morgan

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