Sunday, April 14, 2019

Mind over Matter: Soul vs. Brain

To me, it seems plausible that the mind could be explained by the brain, but it seems equally plausible (and to my metaphysical mindset, far more likely) that the mind is not explained by the brain, at least not fully. Bridging the gap between the physical and the non-physical has always fascinated me. It seems impossible to explain one by the other, as they seem to be two fundamental starting points or principles of reality. Even if the brain can explain the mind, the soul is not thereby explained away, nor is man fully explained.

Crick asserts that since the brain can explain the mind, then there is no need for a soul. But thinking and consciousness is not all that the soul does; hence the traditional distinction between mind and soul. How does one explain the difference between life and non-life, from the smallest bacterium to the largest mammal? The neuronal functionings do not seem to explain the life/non-life problem, while the soul, an anima-ting principle, does. Crick’s assertion would need to further answer the life/non-life problem in order to adequately show that there is no need for soul. He has only shown that there is no need for mind. The need for a soul cannot be explained away by the brain.

Fundamentally, there is a jurisdictional problem at play in this entire debate. The subject of our discourse is man qua man, a subject with immaterial and material elements, intellect and emotions, will and instinct. Modern academia has divided itself into disciplines with very specific jurisdictions and expertise areas, overall a positive development, unless such disciplines fail to interact with one another. Just like the Western intellectual movement towards individualism and the total self-sufficiency and independence of the individual from the group, each discipline has become wholly dependent upon itself, thereby assuming that its methodology—that which distinguishes one discipline from the others—is capable of explaining all of reality. But man is incredibly complex and intricate, an essentially interdisciplinary being. Hence any meaningful discourse on man must incorporate all the disciplines, for ultimately, all disciplines relate essentially to man. Man cannot be explained merely by metaphysics, nor can be explained merely by science. Man must be examined by a dialectic of all the disciplines. Only by such a dialectic can the essentially interdisciplinary being receive an adequate explanation.[1]


[1] Originally a Biology 402 final, 6 May 2015.



Eros as Revelation

Revelation and response as the cycle of love. ‘I have seen your beauty; I have seen you as you are; would you allow me to be in your life?’

The unconditional gift of love, the total gift of self as a response to the revelation of who the beloved truly is. 

Agape presupposes eros; precedes eros. Eros is the condition of agape.

God sees us as we are for He made us. God gives Himself to us absolutely unconditionally. We image Him as best we can. This is how we grow in love.  This is the intrinsic structure of love. 

In a postlapsarian world, the eros of the lover towards the beloved is a revelation of the goodness of the beloved to the beloved herself, who is blinded by the effects of original sin from fully seeing the truth of whom she is and who cannot behold the "truth of her being" without the revelation of the lover.[1]



[1] Originally notes from 24 Jan 2018, 7:55AM-9:49PM

Tuesday, April 9, 2019

Baroque Music and the Paradox of Tragic Beauty


J.S. Bach's Violin Concerto #1 in A Minor (BWV 1041) expresses perfectly one of the special properties of Baroque music generally and Baroque violin in minor key specifically. It captures a sense of beauty, with the high notes of the violin deeply moving the soul; at the same time these high notes have a sense of tragedy; of a piercing wound, not of the body, but of the soul. As the piece reaches the highest point, the other instruments become lighter allowing the violin to come to the forefront and emphasize the deeply personal nature of the tragic emotion. In a special way, Baroque music is able to capture the paradox of tragic beauty.[1]

 



[1] Originally an assignment for Music 201, 30 August 2013.