19 ideas
| 15833 | Tell cleverness from answers, but wisdom from questions [Mahfouz] |
| Full Idea: You can tell whether a man is clever by his answers. You can tell whether a man is wise by his questions. | |
| From: Naguib Mahfouz (works [1998]) | |
| A reaction: [Popped up on Twitter. I am adjusting to the 21st century] The observation is simplistic, of course, but very nice indeed. |
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 7508 | Good reductionism connects fields of knowledge, but doesn't replace one with another [Pinker] |
| Full Idea: Good reductionism (also called 'hierarchical reductionism') consists not of replacing one field of knowledge with another, but of connecting or unifying them. | |
| From: Steven Pinker (The Blank Slate [2002], Ch.4) | |
| A reaction: A nice simple clarification. In this sense I am definitely a reductionist about mind (indeed, about everything). There is nothing threatening to even 'spiritual' understanding by saying that it is connected to the brain. |
| 7510 | Connectionists say the mind is a general purpose learning device [Pinker] |
| Full Idea: Connectionists do not, of course, believe that the mind is a blank slate, but they do believe in the closest mechanistic equivalent, a general purpose learning device. | |
| From: Steven Pinker (The Blank Slate [2002], Ch.5) | |
| A reaction: This shows the closeness of connectionism to Hume's associationism (Idea 2189), which was just a minimal step away from Locke's mind as 'white paper' (Idea 7507). Pinker is defending 'human nature', but connectionism has a point. |
| 7513 | Is memory stored in protein sequences, neurons, synapses, or synapse-strengths? [Pinker] |
| Full Idea: Are memories stored in protein sequences, in new neurons or synapses, or in changes in the strength of existing synapses? | |
| From: Steven Pinker (The Blank Slate [2002], Ch.5) | |
| A reaction: This seems to be a neat summary of current neuroscientific thinking about memory. If you are thinking that memory couldn't possibly be so physical, don't forget the mind-boggling number of events involved in each tiny memory. See Idea 6668. |
| 7509 | Roundworms live successfully with 302 neurons, so human freedom comes from our trillions [Pinker] |
| Full Idea: The roundworm only has 959 cells, and 302 neurons in a fixed wiring diagram; it eats, mates, approaches and avoids certain smells, and that's about it. This makes it obvious that human 'free' behaviour comes from our complex biological makeup. | |
| From: Steven Pinker (The Blank Slate [2002], Ch.5) | |
| A reaction: I find this a persuasive example. Three hundred trillion neurons cannot possibly produce behaviour which is more than broadly predictable, and then it is the environment and culture that make it predictable, not the biology. |
| 7511 | Neural networks can generalise their training, e.g. truths about tigers apply mostly to lions [Pinker] |
| Full Idea: The appeal of neural networks is that they automatically generalize their training to similar new items. If one has been trained to think tigers eat frosted flakes, it will generalise that lions do too, because it knows tigers as sets of features. | |
| From: Steven Pinker (The Blank Slate [2002], Ch.5) | |
| A reaction: This certainly is appealing, because it offers a mechanistic account of abstraction and universals, which everyone agrees are central to proper thinking. |
| 7512 | There are five types of reasoning that seem beyond connectionist systems [Pinker, by PG] |
| Full Idea: Connectionist networks have difficulty with the kind/individual distinction (ducks/this duck), with compositionality (relations), with quantification (reference of 'all'), with recursion (embedded thoughts), and the categorical reasoning (exceptions). | |
| From: report of Steven Pinker (The Blank Slate [2002], Ch.5) by PG - Db (ideas) | |
| A reaction: [Read Pinker p.80!] These are essentially all the more sophisticated aspects of logical reasoning that Pinker can think of. Personally I would be reluctant to say a priori that connectionism couldn't cope with these things, just because they seem tough. |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |
| 7505 | Many think that accepting human nature is to accept innumerable evils [Pinker] |
| Full Idea: To acknowledge human nature, many think, is to endorse racism, sexism, war, greed, genocide, nihilism, reactionary politics, and neglect of children and the disadvantaged. | |
| From: Steven Pinker (The Blank Slate [2002], Pref) | |
| A reaction: The point is that modern liberal thinking says everything is nurture (which can be changed), not nature (which can't). Virtue theory, of which I am a fan, requires a concept of human nature, as the thing which can attain excellence in its function. |
| 7516 | In 1828, the stuff of life was shown to be ordinary chemistry, not a magic gel [Pinker] |
| Full Idea: In 1828 Friedrich Wöhler showed [by synthesising urea in the laboratory] that the stuff of life is not a magical, pulsating gel, but ordinary compounds following the laws of chemistry. | |
| From: Steven Pinker (The Blank Slate [2002], Ch.3) | |
| A reaction: Wöhler synthesised urea in the laboratory. |
| 7515 | All the evidence says evolution is cruel and wasteful, not intelligent [Pinker] |
| Full Idea: The overwhelming evidence is that the process of evolution, far from being intelligent and purposeful, is wasteful and cruel. | |
| From: Steven Pinker (The Blank Slate [2002], Ch.7) | |
| A reaction: This is why opponents should reject evolution totally, rather than compromise with it. Stick to a 6000-year-old world, fossils sent to test our faith, and species created in a flash (with no pain or waste). |
| 7514 | Intelligent Design says that every unexplained phenomenon must be design, by default [Pinker] |
| Full Idea: The originator of 'intelligent design' (the biochemist Michael Behe) takes every phenomenon whose evolutionary history has not yet been figured out, and chalks it up to design by default. | |
| From: Steven Pinker (The Blank Slate [2002], Ch.7) | |
| A reaction: This seems to summarise the strategy very nicely. The theory essentially exploits the 'wow!' factor. The bigger the wow! the more likely it is that it was created by God. But research has been eroding our wows steadily for four hundred years. |