9 ideas
| 6003 | Galen showed by experiment that the brain controls the body [Galen, by Hankinson] |
| Full Idea: Galen established by experiments in neural anatomy that the brain really is, contra the Stoics and Aristotelians, the body's control centre. | |
| From: report of Galen (On Hippocrates and Plato [c.170]) by R.J. Hankinson - Galen (damaged) | |
| A reaction: And about time too. This is one of the most significant events in the development of human understanding. No one has been able to go back to the old view, even Descartes, no matter how much they may long to do so. |
| 7518 | If folk psychology gives a network of causal laws, that fits neatly with functionalism [Churchland,PM] |
| Full Idea: The portrait of folk psychology as a network of causal laws dovetailed neatly with the emerging philosophy of mind called functionalism. | |
| From: Paul M. Churchland (Folk Psychology [1996], II) | |
| A reaction: And from the lower levels functionalism is supported by the notion that the brain is modular. Note the word 'laws'; this implies an underlying precision in folk psychology, which is then easily attacked. Maybe the network is too complex for simple laws. |
| 7519 | Many mental phenomena are totally unexplained by folk psychology [Churchland,PM] |
| Full Idea: Folk psychology fails utterly to explain a considerable variety of central psychological phenomena: mental illness, sleep, creativity, memory, intelligence differences, and many forms of learning, to cite just a few. | |
| From: Paul M. Churchland (Folk Psychology [1996], III) | |
| A reaction: If folk psychology is a theory, it will have been developed to predict behaviour, rather than as a full-blown psychological map. The odd thing is that some people seem to be very bad at folk psychology. |
| 7520 | Folk psychology never makes any progress, and is marginalised by modern science [Churchland,PM] |
| Full Idea: Folk psychology has not progressed significantly in the last 2500 years; if anything, it has been steadily in retreat during this period; it does not integrate with modern science, and its emerging wallflower status bodes ill for its future. | |
| From: Paul M. Churchland (Folk Psychology [1996], III) | |
| A reaction: [compressed] However, while shares in alchemy and astrology have totally collapsed, folk psychology shows not the slightest sign of going away, and it is unclear how it ever could. See Idea 3177. |
| 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. |
| 6030 | Each part of the soul has its virtue - pleasure for appetite, success for competition, and rectitude for reason [Galen] |
| Full Idea: We have by nature these three appropriate relationships, corresponding to each form of the soul's parts - to pleasure because of the appetitive part, to success because of the competitive part, and to rectitude because of the rational part. | |
| From: Galen (On Hippocrates and Plato [c.170], 5.5.8) | |
| A reaction: This is a nice combination of Plato's tripartite theory of soul (in 'Republic') and Aristotle's derivation of virtues from functions. Presumably, though, reason should master the other two, and there is nothing in Galen's idea to explain this. |