20 ideas
| 9327 | Organisms understand their worlds better if they understand themselves [Gulick] |
| Full Idea: Organisms come to better understand their worlds by coming to better understand themselves and the ways in which their own structures engage their worlds. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §III) | |
| A reaction: Van Gulick is defending a higher-order theory of consciousness, but this strikes me as a good rationale for the target of philosophy, which has increasingly (since Descartes) focused on understanding our own minds. |
| 9325 | In contrast with knowledge, the notion of understanding emphasizes practical engagement [Gulick] |
| Full Idea: In contrast with standard notions of knowledge, the concept of understanding emphasizes the element of practical engagement from the outset. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §II) | |
| A reaction: This could be the very interesting germ of a huge revolution in our approach to epistemology, which I find rather appealing. Plato's desire that knowledge should have 'logos' seems to me in the same area. It sounds rather internalist, which is good. |
| 9326 | Knowing-that is a much richer kind of knowing-how [Gulick] |
| Full Idea: Knowing-that is a much richer kind of knowing-how. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §II) | |
| A reaction: This thought could rather rapidly revive the discredited notion of knowing-how. I think it might slot into an account of the mind in terms of levels, so that my internalist view of knowledge emerges at higher levels, built on more basic responses. |
| 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 |
| 9319 | Is consciousness a type of self-awareness, or is being self-aware a way of being conscious? [Gulick] |
| Full Idea: Is consciousness just a special type of self-awareness, or is being self-aware a special way of being conscious? | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], Intro) | |
| A reaction: This is a really good key question, which has hovered over the debate since Locke's definition of a person (as 'self-aware'). I take the self to be a mechanism of most brains, which is prior to consciousness. Maybe the two are inseparable. |
| 9320 | Higher-order theories divide over whether the higher level involves thought or perception [Gulick] |
| Full Idea: Higher-order thought (HOT) models treat metastates as thought-like, and higher-order perception (HOP) models regard them as at least quasi-perceptual and resulting from some form of inner monitoring or inner sense. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §I) | |
| A reaction: I would understand 'thought' to at least partially involve judgements. The HOT theory (Carruthers) seems to suit epistemological foundationalists, who want truth to enter on the ground floor. This pushes me towards the HOP model (Lycan) as more plausible. |
| 9321 | Higher-order models reduce the problem of consciousness to intentionality [Gulick] |
| Full Idea: Higher-order models would effectively reduce the problem of consciousness to that of intentionality. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §I) | |
| A reaction: This gives the bigger picture - that higher-order theories are the cutting edge of attempts to give a naturalistic, reductivist account of consciousness. That seems to be the only way to go, so we should encourage them in the enterprise. |
| 9322 | Maybe qualia only exist at the lower level, and a higher-level is needed for what-it-is-like [Gulick] |
| Full Idea: Some higher-order theorists say we have qualitative but unconscious mental states of color or pain (qualia), but there is nothing it is like to be in such a state, which needs higher-order awareness. The meta-states are devoid of qualia. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §I.5) | |
| A reaction: He calls this the 'stranded qualia' problem. Clearly one begins to sharpen Ockham's Razor at this point, if the higher-level state isn't contributing something. I don't rule out unconscious qualia. The strength of a real pain is distorted in a dream. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 9324 | From the teleopragmatic perspective, life is largely an informational process [Gulick] |
| Full Idea: From the teleopragmatic perspective, life itself is largely an informational process. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006]) | |
| A reaction: From the cynical perspective a human is just 'blood and foul smell in a bag', but that may not give you whole story. The point here is that the informational view will cover both the genetic and the mental levels of human life. True but unilluminating? |