In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)

Perceptual fluency is the subjective experience of ease with which an incoming stimulus is processed. Although perceptual fluency is assessed by speed of processing, it remains unclear how objective speed is related to subjective experiences of fluency. We present evidence that speed at different stages of the perceptual process contributes to perceptual fluency. In an experiment, figure-ground contrast influenced detection of briefly presented words, but not their identification at longer exposure durations. Conversely, font in which the word was written influenced (...) identification, but not detection. Both contrast and font influenced subjective fluency. These findings suggest that speed of processing at different stages condensed into a unified subjective experience of perceptual fluency. (shrink)

The understanding of the interrelationship between brain and mind remains far from clear. It is well established that the brain's capacity to integrate information from numerous sources forms the basis for cognitive abilities. However, the core unresolved question is how information about the "objective" physical entities of the external world can be integrated, and how unifiedand coherent mental states (or Gestalts) can be established in the internal entities of distributed neuronal systems. The present paper offers a unified methodological and conceptual (...) basis for a possible mechanism of how the transient synchronization of brain operations may construct the unified and relatively stable neural states, which underlie mental states. It was shown that the sequence of metastable spatial EEG mosaics does exist and probably reflects the rapid stabilization periods of the interrelation of large neuron systems. At the EEG level this is reflected in the stabilization of quasi-stationary segments on corresponding channels. Within the introduced framework, physical brain processes and psychological processes are considered as two basic aspects of a single whole informational brain state. The relations between operational process of the brain, mental states and consciousness are discussed. (shrink)

Perceptual fluency is the subjective experience of ease with which an incoming stimulus is processed. Although perceptual fluency is assessed by speed of processing, it remains unclear how objective speed is related to subjective experiences of fluency. We present evidence that speed at different stages of the perceptual process contributes to perceptual fluency. In an experiment, figure-ground contrast influenced detection of briefly presented words, but not their identification at longer exposure durations. Conversely, font in which the word was written influenced (...) identification, but not detection. Both contrast and font influenced subjective fluency. These findings suggest that speed of processing at different stages condensed into a unified subjective experience of perceptual fluency. (shrink)

What is the goal of creativity? Is it just a symbolic reshuffling or a moment of semantic extension? Similar to the contrast between syntax and semantics, creativity has an internal and an external aspect. Contrary to the widespread view that emphasises the problem-solving role of creativity, here we consider whether creativity represents an authentic moment of ontological discovery and semantic openness like Schopenhauer and Picasso suggested. To address the semantic aspect of creativity, we take advantage of recent externalist models of (...) the mind suggesting that the mind is more than symbol recombination. (shrink)

This paper focuses on the emergent neo-Jamesian perspective concerning the phenomenology of art and aesthetic experience. Starting from the distinction between nucleus and fringe in the stream of thought described by William James, it can be argued that our appreciation of a work of art is guided by a vague and blurred perception of a much more powerful content, of which we are not fully aware. Accordingly, a work of art is seen as a kind of metaphor of our mental (...) life, objectified to be able to reach out to a much larger audience. However, it is a “realistic” theory rooted in evolutionary psychology, which claims that our mind developed within a framework shaped by environmental pressures. The aesthetics illustrated by several novelists develops a paradigm for this theory. The search for the neuronal correlates of stream of consciousness allows to make a comparison with the recent findings of neuroaesthetics and to reject its claim that it is unnecessary to take phenomenology and psychology into account. (shrink)

Mangan's concept of fringe consciousness is too heavily based on informal introspection, and too all-embracing to constitute a coherent family. It lacks the tight operationalisation needed to identify individual examples of fringe consciousness, and to test Mangan's theoretical account against detailed findings from empirical research. I propose a more focused two-component operationalisation of the fringe. The first component addresses how we can operationalise the consciousness of the fringe; here I draw lessons from research in implicit cognition, and suggest implications for (...) the wider understanding of consciousness. The second component addresses the informational content of the fringe. (shrink)