Following an on-line dialogue with Dennett (Velmans, 2001) this paper examines the similarities and differences between heterophenomenology (HP) and critical phenomenology (CP), two competing accounts of the way that conscious phenomenology should be, and normally is incorporated into psychology and related sciences. Dennett’s heterophenomenology includes subjective reports of conscious experiences, but according to Dennett, first person conscious phenomena in the form of “qualia” such as hardness, redness, itchiness etc. have no real existence. Consequently, subjective reports about such qualia should be (...) understood as prescientific attempts to make sense of brain functioning that can be entirely understood in third person terms. I trace the history of this position in behaviourism (Watson, Skinner and Ryle) and early forms of physicalism and functionalism (Armstrong), and summarise some of the difficulties of this view. Critical phenomenology also includes a conventional, third person, scientific investigation of brain and behaviour that includes subjects’ reports of what they experience. CP is also cautious about the accuracy or completeness of subjective reports. However, unlike HP, CP does not assume that subjects are necessarily deluded about their experiences or doubt that these experiences can have real qualities that can, in principle, be described. Such experienced qualities cannot be exhaustively reduced to third-person accounts of brain and behaviour. CP is also reflexive, in it assumes experimenters to have first-person experiences that they can describe much as their subjects do. And crucially, experimenter’s third-person reports of others are based, in the first instance, on their own first-person experiences. CP is commonplace in psychological science, and given that it conforms both to scientific practice and common sense, I argue that there is little to recommend HP other than an attempt to shore up a counterintuitive, reductive philosophy of mind. (shrink)

At the phenomenal level, consciousness can be described as a singular, unified field of recursive self-awareness, consistently coherent in a particualr way; that of a subject located both spatially and temporally in an egocentrically-extended domain, such that conscious self-awareness is explicitly characterized by I-ness, now-ness and here-ness. The psychological mechanism underwriting this spatiotemporal self-locatedness and its recursive processing style involves an evolutionary elaboration of the basic orientative reference frame which consistently structures ongoing spatiotemporal self-location computations as i-here-now. Cognition computes action-output (...) in the midst of ongoing movement, and consequently requires a constant self-locating spatiotemporal reference frame as basis for these computations. Over time, constant evolutionary pressures for energy efficiency have encouraged both the proliferation of anticipative feedforward processing mechansims, and the elaboration, at the apex of the sensorimotor processing hierarchy, of self-activating, highly attenuated recursively-feedforward circuitry processing the basic orientational schema independent of external action output. As the primary reference frame of active waking cognition, this recursive i-here-now processing generates a zone of subjective self-awareness in terms of which it feels like something to be oneself here and now. This is consciousness. (shrink)

To study conscious experience we must, to some extent, trust introspective reports; yet introspective reports often do not merit our trust. A century ago, E.B. Titchener advocated extensive introspective training as a means of resolving this difficulty. He describes many of his training techniques in his four-volume laboratory manual of 1901- 1905. This paper explores Titchener's laboratory manual with an eye to general questions about the prospects of introspective training for contemporary consciousness studies, with a focus on the following examples: (...) introspective knowledge of the combination tones that arise when a musical interval is played; the 'flight of colours' in the afterimage of a field of bright, broad- spectrum light; and the possibility of non-obvious visual illusions. Introspective training appears to have some merit, but also to involve significant hazards. (shrink)

Smell 'sensations' are among the most mysterious of conscious experiences, and have been cited in defense of the thesis that the character of perceptual experience is independent of the physical events that seem to give rise to it. Here we review the scientific literature on olfaction, and we argue that olfaction has a distinctive profile in relation to the other modalities, on four counts: in the physical nature of the stimulus, in the sensorimotor interactions that characterize its use, in the (...) structure of its intramodal distinctions and in the functional role that it plays in people's behaviour. We present two thought experiments in which we detail what would be involved in transforming sounds into smells, and also smells into colours. Through these thought-experiments, we argue that the experiential character of smell derives precisely from the structural features of olfaction, and that an embodied account of olfactory phenomenology is called for. (shrink)

On a widely held view, episodes of inner speech provide at least one way in which we become conscious of our thoughts. However, it can be argued, on the one hand, that consciousness of thoughts in virtue of inner speech presupposes interpretation of the simulated speech. On the other hand, the need for such self-interpretation seems to clash with distinctive first-personal characteristics that we would normally ascribe to consciousness of one’s own thoughts: a special reliability; a lack of conscious ambiguity (...) and incomprehensibility; and a sense of causal agency. I try to resolve this puzzle by proposing an account for the requisite self-interpretation of inner speech in terms of Bayesian probabilistic inference. Drawing on “perceptual loop” accounts of speech control, I argue that such interpretive probabilistic inferences are used for the control of inner speech, and that as a consequence of this function, they are biased toward the correct interpretations. I conclude by showing how this model can explain the first-personal characteristics of consciousness of one’s own thoughts. In the case of the sense of causal agency, the resulting explanation yields novel accounts for “audible thoughts” and thought insertion. (shrink)

ArgumentThe new English term “empathy” was translated from the GermanEinfühlungin the first decade of the twentieth century by the psychologists James Ward at the University of Cambridge and Edward B. Titchener at Cornell. At Titchener's American laboratory, “empathy” was not a matter of understanding other minds, but rather a projection of imagined bodily movements and accompanying feelings into an object, a meaning that drew from its rich nineteenth-century aesthetic heritage. This rendering of “empathy” borrowed kinaesthetic meanings from German sources, but (...) extended beyond a contemplation of the beautiful to include a variety of experimental stimuli and everyday objects in the laboratory. According to Titchener's structural psychology, all higher thought could be reduced to more elemental aspects of mind, and experimental introspection showed empathy to be constituted of kinaesthetic images. The existence of kinaesthetic images, Titchener argued, formed an incisive critique of the view that thought could take place without images, held by one of Titchener's major psychological rivals, the school of thought-psychologists in Würzburg, Germany. The new term “empathy” in early American academic psychology therefore delineated a kinaesthetic imaginative projection that took place on the basis of ontological difference between minds and things. (shrink)

There is disagreement in the literature about the exact nature of the phenomenon of empathy. There are emotional, cognitive, and conditioning views, applying in varying degrees across species. An adequate description of the ultimate and proximate mechanism can integrate these views. Proximately, the perception of an object's state activates the subject's corresponding representations, which in turn activate somatic and autonomic responses. This mechanism supports basic behaviors that are crucial for the reproductive success of animals living in groups. The Perception-Action Model, (...) together with an understanding of how representations change with experience, can explain the major empirical effects in the literature. It can also predict a variety of empathy disorders. The interaction between the PAM and prefrontal functioning can also explain different levels of empathy across species and age groups. This view can advance our evolutionary understanding of empathy beyond inclusive fitness and reciprocal altruism and can explain different levels of empathy across individuals, species, stages of development, and situations. Key Words: altruism; cognitive empathy ; comparative; emotion; emotional contagion; empathy ; evolution; human; perception-action; perspective taking. (shrink)

This article argues that the defamiliarization caused by extensive repetition, termed ‘semantic satiation’ in psychology, was used by ancient poets for specific effects. Five categories of repetition are identified. First, words undergo auditory deformation through syllable and sound repetition, as commonly in ancient etymologies. Second, a tradition of emphatic proper-name repetition is identified, in which the final instance of the name is given special emphasis; this tradition spans Greek and Latin poetry, and ultimately goes back to the Nireus entry in (...) the Catalogue of Ships. Third, repetition is used for wordplay, where the final instance of the repeated term not only is emphasized but also incurs some change to its meaning or shape. Fourth, the incantatory repetition of divine names in hymns and cultic invocations amplifies a sense of divine presence behind and beyond the repetend. Fifth, repetition of half and full lines by different speakers in Old Comedy serves to undercut and parody the original sense of the repeated words. Extensive repetition in ancient literature was never merely ornamental but was used for a range of specific auditory and semantic effects with distinct and identifiable structures. (shrink)