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  1. Exploring "fringe" consciousness: The subjective experience of perceptual fluency and its objective bases.Rolf Reber, P. Wurtz & Thomas E. Zimmermann - 2004 - Consciousness and Cognition 13 (1):47-60.
    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 (...)
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  • Exploring “fringe” consciousness: The subjective experience of perceptual fluency and its objective bases.Rolf Reber, Pascal Wurtz & Thomas D. Zimmermann - 2004 - Consciousness and Cognition 13 (1):47-60.
    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 (...)
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  • Art as a metaphor of the mind: A neo-Jamesian aesthetics embracing phenomenology, neuroscience, and evolution.Andrea Lavazza - 2008 - Phenomenology and the Cognitive Sciences 8 (2):159-182.
    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 (...)
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  • An externalist approach to creativity: discovery versus recombination.Andrea Lavazza & Riccardo Manzotti - 2013 - Mind and Society 12 (1):61-72.
    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 (...)
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  • Aesthetic experience: Marcel Proust and the neo-Jamesian structure of awareness.David Galin - 2004 - Consciousness and Cognition 13 (2):241-253.
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  • Operational architectonics of the human brain biopotential field: Toward solving the mind-brain problem.Andrew A. Fingelkurts & Alexander A. Fingelkurts - 2001 - Brain and Mind 2 (3):261-296.
    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 (...)
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  • Consciousness, art, and the brain: Lessons from Marcel Proust.Russell Epstein - 2004 - Consciousness and Cognition 13 (2):213-40.
    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 (...)
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  • Natural World Physical, Brain Operational, and Mind Phenomenal Space-Time.Andrew A. Fingelkurts, Alexander A. Fingelkurts & Carlos F. H. Neves - 2010 - Physics of Life Reviews 7 (2):195-249.
    Concepts of space and time are widely developed in physics. However, there is a considerable lack of biologically plausible theoretical frameworks that can demonstrate how space and time dimensions are implemented in the activity of the most complex life-system – the brain with a mind. Brain activity is organized both temporally and spatially, thus representing space-time in the brain. Critical analysis of recent research on the space-time organization of the brain’s activity pointed to the existence of so-called operational space-time in (...)
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  • Measuring the Fringes of Experience.Mark Price - 2002 - PSYCHE: An Interdisciplinary Journal of Research On Consciousness 8.
    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 (...)
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