Perceptual diversity and philosophical belief
Reading up on Derek Parfit’s theory of personal identity as part of my research on non-essential accounts of self in literature, philosophy and neuroscience, I was astounded to come across a New Yorker feature on the philosopher which describes his inability to visualise imagery as an anomaly:
Stoicism as a foundational component of ethics and existentialism
Provided my eyes are not withdrawn from that spectacle, of which they never tire; provided I may look upon the sun and the moon and gaze at the other planets; provided I may trace their risings and settings, their periods and the causes of their travelling faster or slower; provided I may behold all the stars that shine at night – some fixed, others not travelling far afield but circling within the same area; some suddenly shooting forth, and others dazzling the eye with scattered fire, as if they are falling, or gliding past with a long trail of blazing light; provided I can commune with these and, so far as humans may, associate with the divine, and provided I can keep my mind always directed upwards, striving for a vision of kindred things – what does it matter what ground I stand on?
Seneca, Consolation to Helvia, translated by C. D. N. Costa
There Is No Such Thing As A Purely Logical Argument
Written By Mette Leonard Høeg
This blogpost is a prepublication draft of an article forthcoming in THINK.
It is well-known that rational insight and understanding of scientific facts do not necessarily lead to psychological change and shifts in intuitions. In his paper “Grief and the inconsolation of philosophy” (unpublished manuscript), Dominic Wilkinson sheds light on this gap between insight and emotions as he considers the potential of philosophy for offering consolation in relation to human mortality. More specifically, he looks at the possibility of Derek Parfit’s influential reductionist definition of personal identity for providing psychological consolation in the face of the death of oneself and of others. In Reasons and Persons, Parfit argues that personal identity is reducible to physical and psychological continuity of mental states, and that there is no additional fact, diachronic entity or essence that determines identity; and he points to the potential for existential liberation and consolation in adopting this anti-essentialist perspective: “Is the truth depressing? Some might find it so. But I find it liberating, and consoling. When I believed that my existence was such a further fact, I seemed imprisoned in myself. My life seemed like a glass tunnel, through which I was moving faster every year, and at the end of which there was darkness. When I changed my view, the walls of my glass tunnel disappeared. I now live in the open air.”
In Defense of Obfuscation
Written by Mette Leonard Høeg
At the What’s the Point of Moral Philosophy congress held at the University of Oxford this summer, there was near-consensus among the gathered philosophers that clarity in moral philosophy and practical ethics is per definition good and obscurity necessarily bad. Michael J. Zimmerman explicitly praised clarity and accessibility in philosophical writings and criticised the lack of those qualities in especially continental philosophy, using some of Sartre’s more recalcitrant writing as a cautionary example (although also conceding that a similar lack of coherence can occasionally be found in analytical philosophy too). This seemed to be broadly and whole-heartedly supported by the rest of the participants.
Can a Character in an Autobiographical Novel Review the Book in Which She Appears? On the Ethics of Literary Criticism
Written by Mette Leonard Høeg
The common intuition in literary criticism, in art criticism in general and in the public cultural sphere is that it is wrong to engage in criticism of a work if you have a personal relation to its author. The critic who reviews the book of a friend, a professional contact or a former lover is biased and could draw private benefits from this, have ulterior motives of revenge or social/professional advancement. It is the convention in literary criticism to strive for objectivity in the assessment and review of a work, and the critic is generally expected to refrain from referencing personal experiences and using private and autobiographical material, in order to be considered professional, expertly and ethically responsible.
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