{"id":193692,"date":"2021-09-20T12:00:39","date_gmt":"2021-09-20T11:00:39","guid":{"rendered":"https:\/\/www.transcend.org\/tms\/?p=193692"},"modified":"2021-08-30T05:07:24","modified_gmt":"2021-08-30T04:07:24","slug":"marys-room-an-animated-inquiry-into-the-limits-of-knowledge-and-the-mystery-of-consciousness","status":"publish","type":"post","link":"https:\/\/www.transcend.org\/tms\/2021\/09\/marys-room-an-animated-inquiry-into-the-limits-of-knowledge-and-the-mystery-of-consciousness\/","title":{"rendered":"Mary\u2019s Room: An Animated Inquiry into the Limits of Knowledge and the Mystery of Consciousness"},"content":{"rendered":"

\"\"<\/a>The gasp beyond fact, contouring the central question of what it is like to be you.<\/em><\/p>\n

\u201cIt is not half so important to know<\/em> as to feel<\/em>,\u201d Rachel Carson wrote<\/a> after catalyzing the environmental movement with the rigorous science and passionate poetics of reality, harmonizing fact with feeling as the score to a larger understanding. The sentiment speaks to something essential about our human experience: that understanding is always governed by feeling and that any factual knowledge, rather than shaping subjective experience, is shaped by it.<\/p>\n

Consciousness \u2014 that synaptic cataclysm of cerebration symphonic with feeling \u2014 is our only lens on reality, half-opaque to itself, its nature ever quickening our hardest questions, their answers ever beyond our grasp.<\/p>\n

A decade after the electricity of life and subjective experience ceased firing in Carson\u2019s consciousness, Hannah Arendt delivered her staggering Gifford Lectures on the life of the mind<\/a>, observing that if we ever relinquish our hunger for unanswerable questions \u2014 the pinnacle of \u201cthe appetite for meaning we call thinking\u201d \u2014 we would not only lose all art, but lose science and \u201cthe capacity to ask all the answerable questions upon which every civilization is founded.\u201d<\/p>\n

At the center of this delicious realm of the unanswerable are our qualia<\/a> \u2014 those subjective states springing from the essence of individual consciousness, intimate and inchoate, pulsating with the mystery of what it is like to be oneself: what it is like for you to look at the blue<\/a> I am looking at and see it in a way I never will, nor will ever grasp through knowledge.<\/p>\n

\"\"<\/a>
Color chart by Patrick Syme for Werner\u2019s Nomenclature of Colours: Adapted to Zoology, Botany, Chemistry, Mineralogy, Anatomy, and the Arts<\/em><\/a>. (Available as a print<\/a> and as stationery cards<\/a>.)<\/figcaption><\/figure>\n

In the early 1980s, the Australian philosopher Frank Jackson<\/strong> (b. August 31, 1943) set out to explore how knowable that mystery is with his knowledge argument<\/em> \u2014 a thought experiment, also known as Mary\u2019s Room<\/em> or Mary the Super-scientist<\/em>, probing the unfathomed regions of consciousness and the limits of what is knowable with the proboscis of our rational inquiry.<\/p>\n

Living in a black-and-white room, reading black-and-white books, and watching black-and-white screens, Jackson\u2019s conceptual Mary studies what the world is and how it works \u2014 its physical structures, processes, and causal relationships. But then she leaves her monochrome confines and encounters color \u2014 itself the product of physical processes and phenomena, yet producing in Mary a perceptual-psychological experience beyond the knowledge of those processes and phenomena, beyond everything she had understood about color through the knowledge-acquisition paradigm of learning.<\/p>\n

A gasp beyond fact, intimating that knowledge of the physical might fail to capture some essential aspects of our consciousness, the experience of color being but one. An almost-answer to the ancient question Plato posed with his thought experiment about consciousness and the nature of reality<\/a>, the question quantum theory originator Max Planck picked up two and half millennia later with his insistence that \u201cscience cannot solve the ultimate mystery of nature\u2026 because\u2026 we ourselves are part of nature and therefore part of the mystery that we are trying to solve.\u201d<\/a><\/p>\n

\"\"<\/a>
Art from Thomas Wright\u2019s An Original Theory or New Hypothesis of the Universe<\/em><\/a>, 1750. (Available as a print<\/a> and as a face mask<\/a>.)<\/figcaption><\/figure>\n

Originally devised as an argument against physicalism \u2014 the notion that everything known and knowable to us, through thought or feeling, has a physical fundament \u2014 the knowledge argument is widely considered \u201cone of the most discussed, important, and controversial\u201d<\/a> arguments in the ongoing quest to fathom consciousness<\/a>. That it was later challenged by Jackson himself suggests that we might, after all, be stardust suspended in the hammock of spacetime<\/a>.<\/p>\n

This animated primer from my friends at TED-Ed<\/a> and chemist Eleanor Nelsen delves into the complexities, the revelations, and the unanswered, possibly unanswerable questions the knowledge argument contours \u2014 the central questions of what it is like to be human:<\/p>\n

\n

httpv:\/\/www.youtube.com\/watch?v=mGYmiQkah4o<\/p>\n<\/div>\n

Complement with Richard Feynman\u2019s Ode to a Flower<\/em><\/a> \u2014 a Nobel-winning physicist\u2019s sidewise gleam on the same abiding question \u2014 then consider a supreme counterpoint to physicalism in the mysterious experience of music<\/a>.<\/p>\n

_______________________________________<\/em><\/p>\n

\"\"<\/a>Brain Pickings is the brain child of Maria Popova, an interestingness hunter-gatherer and curious mind at large obsessed with combinatorial creativity who also writes for <\/em>Wired UK and<\/em> The Atlantic, among others, and is an MIT Futures of Entertainment Fellow. She has gotten occasional help from a handful of guest contributors<\/a>. Email: brainpicker@brainpickings.org<\/a><\/em><\/p>\n

Go to Original \u2013 brainpickings.org<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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