9 ideas
| 3488 | Freud treats the unconscious as intentional and hence mental [Freud, by Searle] |
| Full Idea: Freud thinks that our unconscious mental states exist as occurrent intrinsic intentional states even when unconscious. Their ontology is that of the mental, even when they are unconscious. | |
| From: report of Sigmund Freud (works [1900]) by John Searle - The Rediscovery of the Mind Ch. 7.V | |
| A reaction: Searle states this view in order to attack it. Whether such states are labelled as 'mental' seems uninteresting. Whether unconscious states can be intentional is crucial, and modern scientific understanding of the brain strongly suggest they can. |
| 5689 | Freud and others have shown that we don't know our own beliefs, feelings, motive and attitudes [Freud, by Shoemaker] |
| Full Idea: Freud persuaded many that beliefs, wishes and feelings are sometimes unconscious, and even sceptics about Freud acknowledge that there is self-deception about motive and attitudes. | |
| From: report of Sigmund Freud (works [1900]) by Sydney Shoemaker - Introspection p.396 | |
| A reaction: This seems to me obviously correct. The traditional notion is that the consciousness is the mind, but now it seems obvious that consciousness is only one part of the mind, and maybe even a peripheral (epiphenomenal) part of it. |
| 23950 | Freud said passions are pressures of some flowing hydraulic quantity [Freud, by Solomon] |
| Full Idea: Freud argued that the passions in general …were the pressures of a yet unknown 'quantity' (which he simply designated 'Q'). He first thought this flowed through neurones, …and always couched the idea in the language of hydraulics. | |
| From: report of Sigmund Freud (works [1900]) by Robert C. Solomon - The Passions 3.4 | |
| A reaction: This is the main target of Solomon's criticism, because its imagery has become so widespread. It leads to talk of suppressing emotions, or sublimating them. However, it is not too different from Nietzsche's 'drives' or 'will to power'. |
| 22186 | Mental modules are specialised, automatic, and isolated [Fodor, by Okasha] |
| Full Idea: Fodor argues that mental modules have three important featuresL 1) they are domain-specific, 2) their operation is mandatory, 3) they are informationally encapsulated. | |
| From: report of Jerry A. Fodor (The Modularity of Mind [1983]) by Samir Okasha - Philosophy of Science: Very Short Intro (2nd ed) 6 | |
| A reaction: Mandatory is interesting. When I hear an English sentence I can't decide not to process it. Modules cannot be too isolated or they couldn't participate in the team. Each one needs a comms manager. |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 22344 | Freud is pessimistic about human nature; it is ambivalent motive and fantasy, rather than reason [Freud, by Murdoch] |
| Full Idea: Freud takes a thoroughly pessimistic view of human nature. ...Introspection reveals only the deep tissue of ambivalent motive, and fantasy is a stronger force than reason. Objectivity and unselfishness are not natural to human beings. | |
| From: report of Sigmund Freud (works [1900], II) by Iris Murdoch - The Sovereignty of Good II | |
| A reaction: Interesting. His view seems to have coloured the whole of modern culture, reinforced by the hideous irrationality of the Nazis. Adorno and Horkheimer attacking the Enlightenment was the last step in that process. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |