Goodman's discussion of authenticity seems entirely relevant, even if it shows up contrasts as well as parallels. Or contrasts for you, and parallels for me. — bongo fury
More so, now that I have the privilege of browsing the renowned book. The suspicion grows that Parfit reifies consciousness, as a substance capable of continuity (relation R) or discontinuity, instead of hanging it ultimately on bodily activity. Styling his theory "reductionist" seems wrong, on that score.
He comes close to examining the analogy with painting, but is keen to dismiss it:
Suppose that an artist paints a self-portrait and then, by repainting, turns this into a portrait of his father. Even though these portraits are more similar than a caterpillar and butterfly, they are not stages in the continued existence of a single painting. — Parfit, p.203
Er, why not? Why aren't they a perfectly fine analogy with gradual personal transformation?
The self-portrait is a painting that the artist destroyed. — (cont.)
Oh. Why, exactly?
In a general discussion of identity, we would need to explain why the requirement of physical continuity differs in such ways for different kinds of thing. But we can ignore this here. — (cont.)
Hmm.
Needless to say, Goodman's book, fairly famous for bringing to bear (on aesthetics) a deal of previous work on identity and structure, isn't referenced in this book.
A subtly related problem is the conception of memory: as an implanted mental picture, with a natural and causal (as opposed to conventional) manner of depicting its object. Not a radical conception, of course; perfectly in line with Locke and Hume. But this results in a view of neuro-psychology as revealing that
The causes of long-term memories are memory-traces. It was once thought that these might be localised, involving changes in only a few brain cells. It is now more probable that a particular memory-trace involves changes in a larger number of cells. — Parfit, p.220
Perhaps there were then and still are plenty of neuro-scientists inclined to this view. I'll take correction on this, because I'm out of touch with psychology, but I'm vaguely aware of a tidal drift in psychological theory (since Bartlett in the thirties) completely away from that idea of a trace, analogous to a frame of imprinted vision or sound, and towards the contrary idea of memory (and perception too) as a continual project of constructing and testing and revising little mental performances. A drift which would be in agreement with Goodman's "language theory of pictures". (And probably modern trends like Bayesian predictive coding.) And which makes sense, if you reflect on the simple observation that animals have hardly ever, if ever, evolved a black box recorder. (Parrots a counter-example?)
This point of view makes, on the other hand, nonsense of the kind of thought experiment (however familiar) wherein,
[...] neuro-surgeons develop ways to create in one brain a copy of a memory-trace in another brain. This might enable us to quasi-remember other people's past experiences. — (cont.)
Enable us to have similar thoughts, sure. To rehearse (somewhat) similar mental performances. Not enable us to be confronted with a similar scene, though. Not in reality, obviously, but more crucially not perceptually: we shall not be confronted with a memory-scene, susceptible to forensic examination like a real picture.
Quasi-remembering other people's past experiences deflates to endorsing their autobiographical assertions. (In a word language or picture language.) And, we should add, the same is true for our own remembering. The only forensic authenticity available is the "autographic" identity of the person mentally rehearsing the assertions.
Which might be expected to not count for much. Napoleon's own recollections of (i.e. his dispositions towards verbal or pictorial assertions about) Waterloo we would expect to be as badly biased as my own delusional ones. Still, they have the distinction (even if not necessarily a virtue) of having formed through the cognitive efforts of an embodied brain actually there at the scene.
We've no grounds to discount the possibility that personal continuity defined spatiotemporally will make an important epistemic difference to memory. Just as (as Goodman argues) we can't know that autographic authenticity (defined similarly) won't make an important aesthetic difference to a picture.