8 ideas
| 3061 | Anaxarchus said that he was not even sure that he knew nothing [Anaxarchus, by Diog. Laertius] |
| Full Idea: Anaxarchus said that he was not even sure that he knew nothing. | |
| From: report of Anaxarchus (fragments/reports [c.340 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.10.1 |
| 7522 | A full neural account of qualia will give new epistemic access to them, beyond private experience [Churchlands] |
| Full Idea: When the hidden neurophysiological structure of qualia (if there is any) gets revealed by unfolding research, then we will automatically gain a new epistemic access to qualia, beyond each person's native and exclusive capacity for internal discrimination. | |
| From: Churchland / Churchland (Recent Work on Consciousness [1997]) | |
| A reaction: Carefully phrased and hard to deny, but something is impenetrable. What experience does an insect have when it encounters ultra-violet light? Nothing remotely interesting about their qualia is likely to emerge from the study of insect brains. |
| 7521 | It is question-begging to assume that qualia are totally simple, hence irreducible [Churchlands] |
| Full Idea: One of the crucial premises of the antireductionists - concerning the intrinsic, nonrelational, metaphysical simplicity of our sensory qualia - is a question-begging and unsupported assumption. | |
| From: Churchland / Churchland (Recent Work on Consciousness [1997]) | |
| A reaction: This is a key point for reductionists, with emphasis on the sheer numbers of connections involved in a simple quale (I estimate a billion involved in one small patch of red). |
| 7523 | The qualia Hard Problem is easy, in comparison with the co-ordination of mental states [Churchlands] |
| Full Idea: The so-called Hard Problem (of qualia) appears to be one of the easiest, in comparison with the problems of short-term memory, fluid and directable attention, the awake state vs sleep, and the unity of consciousness. | |
| From: Churchland / Churchland (Recent Work on Consciousness [1997]) | |
| A reaction: Most of their version of the Hard Problems centre on personal identity, and the centralised co-ordination of mental events. I am inclined to agree with them. Worriers about qualia should think more about the complexity of systems of neurons. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |