O'Brien & Opie's (O&O's) theory demands a view of unconscious processing that is incompatible with virtually all current PDP models of neural activity. Relative to the alternatives, the theory is closer to an AI than a parallel distributed processing (PDP) perspective, and its treatment of phenomenology is ad hoc. It raises at least one important question: Could features of network relaxation be the “switch” that turns an unconscious into a conscious network?

This paper investigates how global coherence is represented in consciousness. It summarizes various lines of research that I have developed over the last twenty years, employing a method that intersects phenomenological with bio-functional analysis. The phenomenological analysis derives from William James's treatment of the fringe, especially a component feeling he called 'right direction'and I call 'rightness'. My bio-functional analysis centres on the limitations of consciousness, and the design strategies that have evolved to finesse these limitations. I argue that fringe phenomenology, (...) in general, has been shaped by its cognitive functions. The function of rightness, in particular, is to represent degrees of fit between a conscious content and the vast body of relevant non-conscious context information. Rightness, then, signals degrees of global positive evaluation. Phenomenologically, rightness is the common element in our feeling that something is a coherent whole: that it is meaningful, correct, fits together, makes sense. It is at the heart of the Aha! experience and, when intense, aesthetic and mystical experience. This analysis also provides a new argument for the efficacy of conscious volition, and a general view of consciousness as a biological information bearing medium. (shrink)

William James described the stream of thought as having two components: (1) a nucleus of highly conscious, often perceptual material; and (2) a fringe of dimly felt contextual information that controls the entry of information into the nucleus and guides the progression of internally directed thought. Here I examine the neural and cognitive correlates of this phenomenology. A survey of the cognitive neuroscience literature suggests that the nucleus corresponds to a dynamic global buffer formed by interactions between different regions of (...) the brain, while the fringe corresponds to a set of mechanisms in the frontal and medial temporal lobes that control the contents of this global buffer. A consequence of this account is that there might be conscious imagistic representations that are not part of the nucleus. I argue that phenomenology can be linked to psychology and neuroscience and a meaningful way that illuminates both. (shrink)

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)

_ Source: _Volume 94, Issue 3, pp 391 - 409 The author outlines a provisional phenomenology of problem solving. He begins by reviewing the history of problem-solving psychology, focusing on the Gestalt approach, which emphasizes the influence of prior knowledge and the occurrence of sudden insights. He then describes problem solving as a process unfolding in a field of consciousness against a background of unconscious knowledge, which encodes action patterns, schemata, and affordances. A global feeling of wrongness or tension is (...) resolved by a series of field transitions, which are guided by peripheral experiences of coherence or “rightness.” The author treats the distinction between reproductive thought and productive thought as a difference in field structure. With reproductive thoughts and actions we perform operations to solve a problem in a semi-automatic sequence. In productive thought, by contrast, a kind of parallel search occurs. This may explain the otherwise obscure phenomenology of struggling to break an impasse. (shrink)

Non-sensory experiences represent almost all context information in consciousness. They condition most aspects of conscious cognition including voluntary retrieval, perception, monitoring, problem solving, emotion, evaluation, meaning recognition. Many peculiar aspects of non-sensory qualia (e.g., they resist being 'grasped' by an act of attention) are explained as adaptations shaped by the cognitive functions they serve. The most important nonsensory experience is coherence or "rightness." Rightness represents degrees of context fit among contents in consciousness, and between conscious and non-conscious processes. Rightness (not (...) familiarity) is the feeling-of-knowing in implicit cognition. The experience of rightness suggests that neural mechanisms "compute" signals indicating the global dynamics of network integration. (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)

Rightness, not familiarity, is the feeling of knowing. Rightness and familiarity are distinct at both the functional and phenomenological levels of analysis. In problem solving, for example, an unfamiliar solution can still feel right. Rightness is the fringe experience permeating all cases of felt meaning in consciousness, and can occur even when the retrieval of specific content is for whatever reason blocked (e.g., in a tip of the tongue experience). For the most extensive published treatment of rightness and fringe experience, (...) see Mangan (2003): "The conscious 'fringe': Bringing William James up to date" in Essential Sources in the Scientific Study of Consciousness, MIT press. (shrink)

My overall aim here is to intersect two issues central to Max Velmans' wide-ranging paper. The first concerns one of the most vexing problems in consciousness research — how best to approach the terms 'mental' and 'physical'. The second looks at the phenomenology of volition, and the degree to which information presumably necessary for making voluntary conscious decisions is, or is not, present in consciousness. Velmans offers three general reasons to motivate his position: the physical world is 'causally closed' to (...) the influence of consciousness; consciousness does not contain the information necessary for making volitional decisions; conscious feelings of volition occur before the acts they supposedly cause. It seems to me that none of this holds up well under scrutiny. I will concentrate on the first two reasons, since I think they involve more basic and widespread aspects of consciousness research. (shrink)

O'Brien & Opie do not address the question of the psychotherapeutic role of unconscious representational states such as beliefs. A dilemma is proposed: if they accept the legitimacy of such states then they should modify what they say about dissociation, and if they do not, they owe us an account of why.

William James’ greatest achievement is, arguably, his analysis of the fringe -- or, as he sometimes called it, transitive experience. In trying to understand this vague, elusive, often peripheral aspect of consciousness, James broke new ground. But in so doing he also began to lay down the first stratum of a radically new methodology, one that intersects first- and third-person findings in such a way that each is able to interrogate the other, and so further our understanding of both.

So the central question here is phenomenological: What is the nature of the aesthetic zap? For it is this experience, or its promise, which gives art such a deep hold on human life. But the issue of representation, while secondary, is still pregnant with cognitive implications: Why is representation, of all the devices available to an artist, more likely to shift the odds in favour of eliciting and/or intensifying aesthetic experience? Assuming a Darwinian view of our species, it is likely (...) that the answer to both questions will come from understanding how our capacity to enjoy art grows out of normal cognition. (shrink)