Explanation does not exist in a metaphysical vacuum. Conceptions of the structure of a phenomenon play an important role in guiding attempts to explain it, and erroneous conceptions of a phenomenon may direct investigation in misleading directions. I believe that there is a case to be made for thinking that much work on the neural underpinnings of consciousness—what is often called the neural correlates of consciousness—is driven by an erroneous conception of the structure of consciousness. The aim of this paper (...) is lay bare some connections between the explanation of consciousness and the structure of consciousness, and to argue for a conception of the structure of consciousness that is more adequate than that which currently drives much research into the neural correlates of consciousness. (shrink)

In this paper, key concepts from the philosophy of critical realism and meta-Reality are used to develop an art education research project that can enhance the freedom of art students in their art work and, potentially, contribute to the promotion of emancipation beyond the world of art work. In the process of developing this project, the author engages in a two-way interrogation of both concepts and empirical research. The stratified model of reality, the ontological status of absence and the concepts (...) of transcendental identification, transcendental agency and the ground-state have informed decisions about data collection and contributed to the analysis of data in this study. The research results offer some empirical support for the philosophy of critical realism and meta-Reality, whilst also identifying potential inconsistencies. A further original feature of the paper is that it draws on the flow theory of Mihaly Csikszentmihalyi to complement Roy Bhaskar's account of the ground-state and of the nature of free-flowing activity; also using neuroscience to provide some neurological evidence for the differences between mindful and spontaneous activity. It is anticipated that the cross-analysis between cases resulting from the two-way interchange between theory and empirical evidence could help to generate a model for ‘unblocking the creative block’, experienced not only by students practising art-making, but also by the wider community. (shrink)