Contrary to received opinion among philosophers, psychologists, and neuroscientists, conscious duality as a principle of brain organization is neither incoherent nor demonstrably false. The present paper begins by reviewing the history of the theory and its anatomical basis and defending it against the claim that it rests upon an arbitrary decision as to what constitutes the biological substratum of mind or person.

This essay is an attempt to explain why Charles Sanders Peirce’s evolutionary metaphysics would not have seemed strange to its original 1890s audience. Building on the pioneering work of Andrew Reynolds, I will excavate the scientific context of Peirce’s Monist articles—in particular “The Law of Mind” and “Man’s Glassy Essence,” both published in 1892—focusing on the relationship between protoplasm, evolution, and consciousness. I argue that Peirce’s discussions should be understood in the context of contemporary evolutionary and physiological speculations, many of (...) which were featured in late- 1880s issues of Open Court, sister journal to the Monist. (shrink)

It is widely felt that the sorts of ideas current in modern laterality and split-brain research are largely without precedent in the behavioral and brain sciences. This paper not only challenges that view, but makes a first attempt to define the relevance of older concepts and data to present research programs.

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)