“Neuro” is fashionable these days, from neuroethics to behaviour change (one of which is philosophy, and the other of which is psychology, but both are promoted on their connection with neuroscience). Something which is under-discussed is that psychology has a rich set of fundamental, and different, perspectives on how we ought to think about the mind and brain. These compete with, and complement, each other. The one you adopt will dramatically affect how you read a situation and the “psychological” solutions you are inspired to propose. Probably most people are aware of the neuroscience perspective, and the associated worldview of the mind as a piece of biochemical machinery. From this we get drugs for schizophrenia and brain scans for lie detection. This is the view of the mind which is ascendant. Probably, also, most people are vaguely aware of the Freudian perspective, that dark territory of the undermind with its repressed monsters and tragic struggles. From here we get recovered memory therapy and self-esteem workshops for young offenders. Although people will be aware of these perspectives, will they also be aware of the contradictions between them, and the complements, or the fact that both are viewed by some professionals in psychology as optional, or even harmful, ways of thinking about the mind? And what about the chorus of other perspectives, not all necessary contradictory, but all catalysing insights into mind and behaviour; evolution, cybernetics, cognitivism, situationism, narrative approaches, dynamic systems theory. Each of these will not just give you different answers, but promote entirely different classes of questions as the central task of psychology.

I’d love to work on an theatre or exhibition piece about conceptions of the mind, something which dramatised the different understandings of mind. I think it could be a freshing change from a lot of “art-science” pieces about psychology, which unthinkingly accept the cog-neuro consensus of anglo-US psychology and/or see their purpose as bludgoning the public with a bunch of information they have decided “people should know”. Something about perspectives, rather than facts, would inherantly lend itself to art-dramatic intepretations, and open a space for people enage with how they understand psychological science, rather than being threatened, as is so common, with what scientists thing they should understand.