The elusive relationship between the mental domain and the physical brain, known as the mind-body problem, is still a hot topic of discussion among philosophers and neuroscientists. Rather than solving this problem, our pilot study addresses the question as to whether personality features could influence intuitions of the mind-body problem, or more precisely, whether it is possible to identify a person’s intuitive inclinations toward dualism or materialism and their inclinations toward reduction of the mind to the brain. For the purposes (...) of this pilot study, we developed a questionnaire, which employed several theories of analytic philosophy of the mind, in order to determine which category the participants would belong to. These main categories were dualism, non-reductive materialism and reductive materialism. To test whether personality features affect preferences for these categories, the participants were investigated by Cloninger’s Temperament and Character Inventory (TCI). We found significant differences in the self-transcendence dimension of the TCI between participants who were evaluated as dualists and those who were assessed as reductive materialists. Our data show that the personality dimension of self-transcendence correlates with intuitive inclination toward reductive materialism or dualism. In addition, our results suggest that ideas, theories, and hypothetical solutions of the mind-body problem and possibly even conclusions, acceptance, and disputations of thought experiments of philosophy of the mind can be biased by personality traits. This fact should be taken into account in future discussions of the philosophy of the mind and may also be important for empirical research and an empirical understanding of the mind. (shrink)

Composer and musicologist Nicolas Slonimsky published a fascinating and delightful book entitled Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven’s Time (Slonimsky 1965). The book is a collection of what Slonimsky called “biased, unfair, ill-tempered, and singularly unprophetic judgments” (p. 3) about famous composers and their works. We find, for example, the Gazette Musicale de Paris on August 1, 1847, saying of Verdi, “there has not yet been an Italian composer more incapable of producing what is commonly called (...) a melody.” And this publication stuck to its guns. On May 22, 1853, it said of Rigoletto that it “lacks melody. This opera has hardly any chance to be kept in the repertoire.” The May 1804 issue of Zeitung für die Elegente Welt proclaimed Beethoven’s Second Symphony is a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect................ (shrink)