Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of (...) acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The out- side world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the gov- erning laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Sev- eral lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual “filling in,” visual stability despite eye movements, change blindness, sensory substitution, and color perception. (shrink)

The paper proposes a way of bridging the gapbetween physical processes in the brain and the ''''felt''''aspect of sensory experience. The approach is based onthe idea that experience is not generated by brainprocesses themselves, but rather is constituted by theway these brain processes enable a particular form of''''give-and-take'''' between the perceiver and theenvironment. From this starting-point we are able tocharacterize the phenomenological differences betweenthe different sensory modalities in a more principledway than has been done in the past. We are also (...) ableto approach the issues of visual awareness andconsciousness in a satisfactory way. Finally weconsider a number of testable empirical consequences,one of which is the striking prediction of thephenomenon of ''''change blindness''''. (shrink)

John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, (...) though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

A great deal of philosophy of mind in the modern era has been driven by an intense aversion to Cartesian dualism. In the 1950s, materialists claimed to have succeeded once and for all in exorcising the Cartesian ghost by identifying the mind with the brain. In subsequent decades, cognitive science put scientific meat on this metaphysical skeleton by explicating mental processes as digital computation implemented in the brain's hardware.

Dissociation during trauma lacks an adequate definition. Using data obtained from interviews with 36 posttraumatic individuals conducted according to the phenomenological approach, this paper seeks to improve our understanding of this phenomenon. In particular, it suggesting a trade off model depicting the balance between the sense of agency and the sense of ownership : a reciprocal relationship appears to exist between these two, and in order to enable control of the body during trauma the sense of ownership must decrease. When (...) the relationship between the sense of agency and sense of ownership changes disproportionately to the constraints of the traumatic event, the dissociative mechanism becomes dysfunctional. By contrast, when the relations alter in accordance with the surrounding conditions, the dissociative mechanism functions properly. (shrink)

The traumatic experience and the meditative experience differ in many respects. For instance, it is possible to suggest that while a sense of helplessness is the most important feature of the traumatic experience, meditation does not involve a similar sense of helplessness. Furthermore, while trauma is shocking and horrifying, meditation is considered to be constructive and efficient in reducing stress and improving welfare. Yet, with this in mind, by comparing interviews with twelve senior meditators on the one hand and interviews (...) with survivors of traumatic experiences from other qualitative studies of mine on the other, this paper suggests that essentially both phenomena are rooted in the same mechanism: the collapse of the intentional structure. More precisely, in both cases, the intentional structure collapses and, as a result, the gap between Me versus Not–Me diminishes: in that case, one loses the first-personal bodily egocentric perceptive upon the world. (shrink)

Patients with delusions of control are abnormally aware of the sensory consequences of their actions and have difficulty with on-line corrections of movement. As a result they do not feel in control of their movements. At the same time they are strongly aware of the action being intentional. This leads them to believe that their actions are being controlled by an external agent. In contrast, the normal mark of the self in action is that we have very little experience of (...) it. Most of the time we are not aware of the sensory consequences of our actions or of the various subtle corrections that we make during the course of goal-directed actions. We know that we are agents and that we are successfully causing the world to change. But as actors we move through the world like shadows glimpsed only occasional from the corner of an eye. (shrink)