imayooshi

[tilbageidanmark]

A list of cognitive biases

[omegaphilosophia]

The Philosophy of Consciousness, Subconsciousness, and Unconsciousness

The study of consciousness, subconsciousness, and unconsciousness is central to philosophy, psychology, and neuroscience. Philosophers and scientists have long debated the nature of the mind, self-awareness, and the layers of mental activity that influence behavior, perception, and cognition. Here's an overview of the three concepts:

1. Consciousness

Definition: Consciousness refers to the state of being aware of and able to think about one’s environment, existence, thoughts, and sensations. It is the subjective experience of the mind, or what is often called "phenomenal experience"—what it feels like to be you at any given moment.

Philosophical Theories:

Dualism (René Descartes): Descartes famously proposed that the mind and body are two fundamentally different substances. According to Cartesian dualism, the mind is immaterial, and consciousness is a non-physical property of the mind. The body, on the other hand, operates like a machine.

Materialism/Physicalism: Materialists argue that consciousness arises from the brain's physical processes. According to this view, consciousness is a product of neuronal activity, and there is no separate, immaterial mind. Contemporary neuroscientific approaches align with this view, seeking to explain how brain activity correlates with conscious experience.

Phenomenology (Edmund Husserl, Maurice Merleau-Ponty): Phenomenologists focus on the first-person experience of consciousness. For them, consciousness is always consciousness "of" something (intentionality), and they explore how the mind structures experience.

Hard Problem of Consciousness (David Chalmers): Chalmers distinguishes between the "easy" problems of consciousness (understanding brain functions) and the hard problem, which is explaining why and how physical processes in the brain give rise to subjective experiences, such as the sensation of color or pain.

Panpsychism: This is the view that consciousness is a fundamental and ubiquitous feature of the universe, meaning that all matter has some degree of conscious experience, not just humans or animals.

2. Subconsciousness

Definition: The subconscious refers to mental processes that occur just below the level of conscious awareness. These processes influence thoughts, behaviors, and perceptions without being actively noticed by the individual.

Philosophical Perspectives:

Freudian Subconscious: Sigmund Freud introduced the concept of the subconscious (often used interchangeably with "preconscious" and "unconscious" in his early work). For Freud, the subconscious includes thoughts and desires that are not currently in conscious awareness but can become conscious when triggered (e.g., through memory or slips of the tongue).

Dual-Process Theories: Modern cognitive psychology divides thought into two systems: System 1 (fast, automatic, subconscious thinking) and System 2 (slow, deliberate, conscious thinking). Subconsciousness is often associated with System 1, where many decisions and impressions are made without conscious deliberation.

Carl Jung’s Collective Subconscious: Jung expanded on Freud's idea of the subconscious with the collective unconscious, a layer of the unconscious mind shared by all humans, filled with archetypes and universal symbols.

3. Unconsciousness

Definition: The unconscious refers to mental processes, desires, and memories that are entirely outside of conscious awareness and typically inaccessible to introspection. In psychological theory, the unconscious is thought to hold repressed feelings, unresolved conflicts, and primitive desires.

Philosophical and Psychological Perspectives:

Freudian Unconscious: Freud proposed that the unconscious mind is a repository for desires, fears, and memories that are too painful or socially unacceptable to acknowledge consciously. These repressed elements of the mind influence behavior in subtle and sometimes disruptive ways.

Id, Ego, and Superego: In Freud's structural model of the psyche, the id represents unconscious primal desires, the ego navigates reality, and the superego represents moral standards. The unconscious mind contains both the id and parts of the superego.

Jungian Unconscious: For Carl Jung, the unconscious mind is divided into two parts: the personal unconscious, which is unique to the individual, and the collective unconscious, a shared repository of human experience. The collective unconscious holds archetypes, symbols, and motifs that recur across cultures and history.

Philosophical Issues with the Unconscious: Some philosophers question whether it makes sense to speak of unconscious mental states. If a thought or desire is not accessible to conscious awareness, can it truly be said to be "mental"? This challenges traditional notions of mind and cognition.

Key Questions in the Philosophy of Consciousness, Subconsciousness, and Unconsciousness:

What Is the Nature of Conscious Experience? Philosophers debate whether consciousness can be fully explained through physical processes or whether something irreducible remains. The hard problem of consciousness remains one of the most pressing and unsolved issues in philosophy.

To What Extent Do Subconscious and Unconscious Processes Influence Behavior? How much of our decisions and perceptions are shaped by thoughts and feelings outside of our awareness? Psychological experiments have demonstrated that subconscious cues can powerfully affect behavior, challenging the belief in fully rational decision-making.

Is the Unconscious Real? Philosophical skepticism exists about whether unconscious thoughts and desires are truly "thoughts" if they cannot be directly experienced or known. Others argue that the unconscious is a necessary concept for understanding repressed feelings and psychological disorders.

Relationship Between the Three:

Consciousness represents active awareness, decision-making, and self-reflection.

Subconsciousness includes processes just below the level of awareness, such as habits, reflexes, or memories that can be brought into consciousness.

Unconsciousness involves deeper, hidden aspects of the mind, inaccessible to conscious introspection but influential in shaping desires, emotions, and behaviors.

The philosophy of consciousness explores self-awareness, subjectivity, and the mind-body problem. Subconsciousness refers to mental processes that influence behavior outside of immediate awareness. Unconsciousness deals with repressed desires and memories that operate beyond conscious thought. Each concept has rich philosophical implications for understanding the mind, free will, identity, and the nature of human experience.

[funeral]

Jung therefore defines spirit, from the psychological angle, as the dynamic aspect of the unconscious. One can think of the unconscious as being like still water, a lake which is passive. The things one forgets fall into that lake; if one remembers them one fishes them up but it itself does not move. The unconscious has that matrix, womb aspect, but it also has the aspect of containing dynamism and movement, it acts on its own accord for instance, it composes dreams. One could say that composing dreams while one sleeps is an aspect of the spirit; some master spirit or mind composes a most ingenious series of pictures which, if one can decipher them, seem to convey a highly intelligent message. That is a dynamic manifestation of the unconscious, where the unconscious energetically does something on its own, it moves and creates on its own, and that is what Jung defines as spirit.

Marie-Louise von Franz, On Divination & Synchronicity: The Psychology of Meaningful Chance

[scienceofnoetica]

The path is not a straight line. It is a spiral. You keep coming back to things you thought you understood and seeing deeper truths.

-Berry H.G

[artmindlens]

Jean-Léon Gérôme Retour de la chasse, Circassian à l'abreuvoir ca. 1877

Conquest and Achievement: The Cyclical Effort of Risk-Taking

The presence of the small fawn suggests that while the figure has achieved something, it is not a grand conquest. In traditional hunts, a male deer or a larger, more significant catch would symbolize a more profound victory. Here, the small size of the catch reflects a life where efforts may yield results, but not on a large scale. This speaks to the cyclical nature of financial gain—where money or success is achieved through continuous acts of risk-taking, but never in yielding proportional abundance. It suggests a pattern where the individual must continually embark on new ventures, hunts, or risks to maintain their status, rather than achieving long-lasting or stable wealth.

In the world of business or finance, this mirrors a life of constant striving. Individuals in this position may achieve incremental successes, they maybe outwardly strong, disciplined and with many achievements but they are not destined for stable wealth or financial security. Instead, they are reliant on continuous effort and risk-taking to maintain their financial standing. The small fawn serves as a metaphor for the limited returns one might gain from these efforts—hard-earned but not monumental.

The Comfort of Tamed Instincts

Despite the modest achievement, there is an underlying sense of control and mastery over the figure’s instincts. The rider, calm and composed, has clearly tamed both the horse and the dogs.

This element of control over instincts reflects a leadership style that is highly disciplined and self-regulated. In a business context, this individual would be someone who can manage their emotions and reactions effectively, ensuring that their decisions are measured and thoughtful. However, this mastery comes with its own price — it serves as a testament to diligent effort without the abundance of return —perhaps sacrificing the opportunity for greater, more instinctual risks that could lead to larger rewards.

The Unattainable Goal of Stability and Ease

The fortress in the background symbolizes something far greater—an ideal of stable wealth, noble life, and long-term success, akin to a wellspring of water, the most essential resource for survival. This artwork speaks to potential: the figure in the painting, and by extension the viewer, possesses the talent and discipline necessary to become the lord of this grand castle, though it remains tantalizingly out of reach. The figure stands not inside, but outside its walls, suggesting that this level of comfort and stability is something they aspire to but always elusive to those who are constantly striving, always working hard for success. It represents the longed-for ease and security that can only come from a stable, protected environment—something the individual has yet to realize.

In the financial world, this may reflect a career or business model where stability remains an elusive goal, always just out of reach despite ongoing efforts.

A Life of Effort, But Modest Reward

The overall composition of the painting suggests a life where effort and discipline are constant, but the rewards are often small. The figure achieves control over their instincts, maintains their composure, and experiences moments of success, but these successes are not overwhelming or transformative. The contrast between the modest lamb and the grandeur of the castle highlights the gap between effort and reward.

In a business setting, this could be a cautionary tale about overworking for limited returns. It encourages reflection on whether one’s efforts are truly leading to the desired outcome, or whether they are caught in a cycle of hard work without meaningful progress. Leaders might consider whether their strategies are too focused on control and incremental gains, rather than taking the larger risks necessary for substantial success.

Conclusion: The Struggle Between Effort and Stability

This painting speaks to the tension between effort and stability, control and ambition. While the figure has achieved some level of success and control, the larger goal of stable, effortless wealth remains out of reach. It reflects the experience of individuals who are constantly working hard, achieving moderate success, but never quite attaining the stability or ease they desire. In the context of business and leadership, this painting serves as a reminder to assess whether one's efforts are truly leading to the desired rewards, or whether they are simply maintaining a cycle of modest achievement.

[saliciouscelery]

Girl, a Daydreaming Machine

[timeless-clarity]

If there is anything that humans find unconsciously irresistible, it's faith.

And I don't mean faith in a purely religious or even spiritual sense — although it can be. Some people carry so much faith in their bodies that you can see the glint of it in their eyes as they move through the world. It’s a deeply magnetic trait to have.

I've come to realise that the remedy to the nihilism embedded in capitalistic cultures is to have faith — to hold onto something worth living for and believing in. People who engage with their faith move with a confidence that soothes the existential angst of those around them. If you've ever felt the pressure to make a meaningful life amidst cynical co-workers, family members, friends, and teachers, you'll be pleased to know this: we all have a choice.

Faith, in its simplest form, is a belief in something greater than nihilistic disillusionment. It’s the quiet assurance that there’s more to life than what we’re often told. It's a belief in ourselves, in others, or in the beauty and possibilities that surround us daily.

When the world feels overwhelming, when grief feels unbearable, or when things just aren’t aligning, you can assign your own sense of meaning and capture moments that bring you lasting warmth. You’re allowed to have faith in the magic of the mundane.

In a world that often tries to strip us of meaning, the most radical act we can commit is to believe in something — even if it's just the possibility of a brighter future. Faith is not a certainty, but a choice. And in choosing it, we anchor ourselves to hope, resilience, and purpose.

What will you choose to have faith in? - Love, Timeless Clarity

[hammerheadmarc]

from Jung’s The Red Book

[yourspiritguide-quotes]

I'm familiar with a little of Jung's material. However, I'd appreciate being directed to some reference material on shadow work.

Thanks. 😊

Sure! I highly recommend these shadow work resources below:

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1. LonerWolf.com and their workbooks - this shadow workbook is a really useful start

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2. Caroline Myss' Archetype Cards - these work with the concept of Jungian archetypes and include the shadow side of each archetype. Great for self-analysis

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3. How to Befriend Your Shadow by John Monbourquette. This is a more academic book and contains very useful references to fiction and non-fiction about shadow work

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4. Warrior, Magician, Lover, King by Rod Boothroyd - this is an excellent book to guide your personal shadow work. It's aimed at men, but I'm a woman and related to it too (simply swap "King" for "Queen"). This is by far my favourite shadow work book

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5. Also, tarot can be used for shadow work if that's up your street. The free app Galaxy Tarot is great - look at the "reverse" section for each card to see its shadow meaning

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I hope this helps - let me know if you have any questions 🖤

[ashlythewolf]

Sol: Dreamer the unconscious consciousness

[compassionmattersmost]

Journey of Individuation: Unveiling the Depths Within

Navigating the Path of Individuation and Spiritual Growth Through Celibacy Individuation invites us to venture beyond the surface of our conscious minds, where our thoughts and reasoning reside. It is an exploration of the vast, submerged realms of our unconscious—where buried treasures and forgotten truths await rediscovery. A pivotal aspect of this journey involves embracing our shadow—the…

[beautifult999]

Me and Adam and TJ are in agreement that entities could either come from other dimensions and realms as we perceive them, or they come from our consciousness as we perceive them, or both. So when my therapist told me that she really thinks that I could be possessed with the voices in my head and ears, or that what she thinks it really is, is that it’s my unconscious mind (which is a part of my consciousness) I told her “So it’s like the drugs and fasting unlocked my unconscious mind to me” And she told me to use it to my advantage, but it’s really a bad thing and that’s literally what makes people schizophrenic and have mental illness like that (Schizoaffective and Bipolar 1 too) and hear voices because people with these mental illnesses hear and perceive their unconscious mind, which should NOT happen to to people. xD But yeah, she told me if the voices help me and tell me the future etc., then use it to my advantage because they’ll probably never go away.

[omegaphilosophia]

The Philosophy of Personality

The philosophy of personality explores the nature, origin, and development of individual identity and selfhood. It involves questions about the essence of what makes someone who they are, how personality is formed, the relationship between personality and free will, and how external and internal factors shape personal characteristics.

Here’s an overview of key concepts and perspectives:

1. Nature of Personality

Personality refers to the unique patterns of thoughts, feelings, behaviors, and experiences that define an individual. Philosophers examine whether personality is something inherent (fixed by nature) or whether it evolves over time (shaped by nurture and experience).

Essentialism vs. Existentialism:

Essentialism posits that personality is rooted in an essential nature that is relatively stable over time. This is often linked to the idea of a fixed "soul" or "self" that defines identity.

Existentialism, on the other hand, argues that personality is fluid, shaped by personal choices and life experiences. For existentialists like Jean-Paul Sartre, human beings are not born with a pre-defined personality but create themselves through actions and decisions. Sartre famously claimed, "Existence precedes essence," meaning that who we are is the result of our lived experiences, not an inherent nature.

2. Personality and Identity

Self-Identity: Philosophers such as John Locke have explored the link between personality and personal identity, especially how continuity of consciousness relates to being the same person over time. Locke's memory theory of identity suggests that we are the same person to the extent that we remember our past actions and experiences.

Psychological Continuity: Theories of psychological continuity focus on how personality and mental states over time create a coherent sense of self. If a person experiences radical changes in personality or memory loss, philosophers question whether they remain the same person.

3. Determinism vs. Free Will in Personality

Determinism: Determinists argue that personality is shaped by a combination of genetics, environment, and social conditioning. According to this view, free will plays little to no role in shaping personality because external factors like upbringing, culture, and biology predetermine how we think, feel, and act.

Free Will: Opposing this, many existentialists and humanistic philosophers believe that individuals have the power to transcend their circumstances and freely shape their personalities. Sartre argued that people are "condemned to be free," meaning that they must take responsibility for their actions and the personality traits they develop.

4. Personality and Moral Responsibility

Character and Virtue Ethics: Philosophers like Aristotle emphasized the role of character in shaping ethical behavior. According to Aristotle, personality traits like courage, temperance, and wisdom can be cultivated through practice and habit, leading to a virtuous life. In this view, personality is not just a collection of traits but something tied to one's moral development.

Moral Luck: A challenge in the philosophy of personality is the idea of moral luck—the notion that aspects of one’s personality may be shaped by circumstances outside of their control, yet they are still held morally accountable for their actions. For example, someone born with a naturally aggressive disposition may find it harder to behave ethically, raising questions about responsibility and fairness.

5. Personality and the Unconscious

The role of the unconscious mind in shaping personality has been a major topic of discussion, especially in the works of Sigmund Freud and Carl Jung. Freud proposed that unconscious desires and conflicts shape much of our personality, and many of our behaviors are driven by unconscious motives rather than rational choices.

Jung expanded on Freud’s ideas by introducing the collective unconscious, which he argued contains archetypes that influence individual personalities. These archetypes are universal symbols and themes that shape human experience and personality development.

6. Personality and Social Context

Sociological and Cultural Influences: Many contemporary philosophers and social theorists emphasize that personality is not developed in isolation but in interaction with society and culture. Social constructivism suggests that much of our personality is shaped by societal norms, values, and roles. According to this view, personality traits are often expressions of the expectations and constraints placed on individuals by their social environment.

Gender and Personality: Feminist philosophers like Judith Butler argue that gender, as a central aspect of personality, is a social performance rather than an inherent trait. In this sense, personality is something individuals enact within the framework of societal norms.

7. Personality and the Self

Concept of the Self: Philosophers debate whether there is a "core" self behind personality traits or whether the self is an illusion, constructed through interactions with the world. Some argue for a unified self, where personality is an expression of a consistent internal essence. Others, such as David Hume, believed that the self is a bundle of perceptions with no fixed identity, constantly in flux.

Narrative Identity: Some philosophers, like Paul Ricoeur, suggest that individuals create their identities through the stories they tell about themselves. Personality, in this view, is tied to the personal narrative that individuals construct over time, making sense of their past experiences and future goals.

The philosophy of personality addresses fundamental questions about identity, free will, morality, and the interplay between nature and nurture. It explores how much of who we are is determined by genetics, culture, or unconscious factors, and to what extent we have the power to shape our own personalities.

[covenawhite66]

The theory is that consciousness developed as a memory system that is used by our unconscious brain to help us flexibly and creatively imagine the future and plan accordingly. We don't perceive the world, make decisions, or perform actions directly. Instead, we do all these things unconsciously and then about half a second later consciously remember doing them.”

It was a theory to explain how it was possible Conscious processes were that were simply too slow to be actively involved in music, sports, and other activities where split second reflexes are required. But if consciousness is not involved in such processes, then a better explanation of what consciousness does was needed

Meaning actions we believed were made consciously are actually made unconsciously.

Even our thoughts are not generally under our conscious control. This lack of control is why we may have difficulty stopping a stream of thoughts running through our head

[conscious-pisces]

“I’m sorry, please forgive me, thank you, I love you”

[artmindlens]

Phantasy and Art: The Unconscious Bridge to Creation By Diana Yakobsson

In psychoanalytic theory, phantasy is a foundational element of the unconscious mind, influencing not only our dreams and desires but also the ways in which we engage with art. Far beyond idle daydreaming, phantasy is the engine of the psyche, a dynamic and ever-present force that shapes our experiences and expressions. When we examine art through the lens of psychoanalysis, particularly with an understanding of phantasy, we begin to see it as not merely an external object, but a symbolic manifestation of both the artist’s and the viewer’s unconscious.

Freud’s early work on phantasy linked it to the pleasure principle, suggesting that phantasies are unconscious wish-fulfillments—manifestations of desires that reality does not immediately satisfy. For Freud, phantasy provided an outlet for these desires, which are transformed through sublimation into higher, socially acceptable expressions, such as art. This sublimation is key to understanding why art resonates so deeply on a psychological level. It presents, in symbolic form, the very conflicts and desires that we carry in our unconscious, offering both catharsis and understanding without the need for direct confrontation.

Yet phantasy is not bound by the same rules as conscious thought. It exists in a timeless space, where past, present, and future intermingle. It is in this timelessness that phantasy connects so closely with art. A Renaissance painting can evoke the same emotional response in a modern viewer as it did centuries ago, not because of the historical context, but because it taps into universal unconscious themes—fears, desires, and conflicts that are timeless. In this sense, art is a medium through which phantasy is externalized, offering a way for both the creator and the viewer to engage with their unconscious in a safe and socially acceptable manner.

Melanie Klein, building on Freud’s concept, expanded the role of phantasy in her work with children, arguing that phantasies are present from the very start of life, shaping how we experience the world around us. In Klein’s view, phantasy is not merely a defense mechanism, as Freud initially posited, but a primary mode of psychic functioning. Phantasy, for Klein, is directly linked to our instinctual drives, operating alongside the mechanisms of defense that we use to protect ourselves from unbearable realities.

In this light, art becomes a way of working through these complex phantasies. A painting or a sculpture can symbolize repressed desires for love, autonomy, or power, while also representing fears of loss, rejection, or aggression. Even abstract art, with its lack of clear narrative or recognizable forms, speaks directly to the unconscious mind. The shapes and colors evoke emotions that are hard to articulate but deeply felt, allowing us to bypass the rational mind and connect directly with our phantasies. It is this connection that makes art so powerful and, for many, so therapeutic.

Art collectors, whether consciously aware of it or not, are often drawn to pieces that resonate with their own unconscious phantasies. A painting that evokes a sense of nostalgia or longing may reflect the collector’s unresolved conflicts, repressed memories, or unacknowledged desires. In this way, purchasing art becomes more than just an aesthetic choice; it is a way of externalizing and controlling the forces of the unconscious. The artwork serves as both a container for these emotions and a means of symbolic resolution.

The role of phantasy in art is not just one of creation, but also of interpretation. As viewers, we project our own unconscious phantasies onto the artwork, seeing in it reflections of our own inner world. This is why two people can have entirely different reactions to the same piece of art—because each is bringing their own unconscious conflicts, desires, and experiences to the encounter. Art, in this sense, is not something we merely observe, but something we feel, as it engages with the deepest parts of our psyche.

Freud’s notion of unconscious phantasy as a form of wish-fulfillment, and Klein’s extension of this idea to include even the most primitive and early stages of development, highlights the inextricable link between phantasy and creativity. Where Freud saw phantasy as a later development, closely tied to defense mechanisms, Klein placed it at the very heart of human experience, influencing not only our dreams and symptoms but also our thoughts, perceptions, and artistic creations.

In conclusion, art is a dialogue with the unconscious. It is a way of giving form to the formless, of externalising the internal. Through phantasy, the artist taps into the deepest layers of the unconscious, transforming raw instinctual energy into something tangible, something that can be shared and understood. And as viewers, we engage with art in much the same way—projecting our own unconscious phantasies onto the canvas, finding in it a reflection of our innermost desires and conflicts. This is the power of art: it is not just an expression of beauty, but a mirror of the soul, offering us a glimpse into the hidden phantasies that shape our inner world.