Conscious experience is at once the most familiar thing in the world and the most mysterious. There is nothing we know about more directly than consciousness, but it is extraordinarily hard to reconcile it with everything else we know. Why does it exist? What does it do? How could it possibly arise from neural processes in the brain? These questions are among the most intriguing in all of science.

Some mental events are conscious, some are unconscious. What is the difference between the two? Uriah Kriegel offers an answer. His aim is a comprehensive theory of the features that all and only conscious mental events have. The key idea is that consciousness arises when self-awareness and world-awareness are integrated in the right way. Conscious mental events differ from unconscious ones in that, whatever else they may represent, they always also represent themselves, and do so in a very specific way. (...) Subjective Consciousness is a fascinating new move forward towards a full understanding of the mind. (shrink)

Do you dream in color? If you answer Yes, how can you be sure? Before you recount your vivid memory of a dream featuring all the colors of the rainbow, consider that in the 1950s researchers found that most people reported dreaming in black and white. In the 1960s, when most movies were in color and more people had color television sets, the vast majority of reported dreams contained color. The most likely explanation for this, according to the philosopher Eric (...) Schwitzgebel, is not that exposure to black-and-white media made people misremember their dreams. It is that we simply don't know whether or not we dream in color. In Perplexities of Consciousness, Schwitzgebel examines various aspects of inner life and argues that we know very little about our stream of conscious experience. Drawing broadly from historical and recent philosophy and psychology to examine such topics as visual perspective, and the unreliability of introspection, Schwitzgebel finds us singularly inept in our judgments about conscious experience. (shrink)

What do thoughts, hopes, paintings, words, desires, photographs, traffic signs, and perceptions have in common? They are all about something, are directed, are contentful - in a way chairs and trees, for example, are not. This book inquires into the source of this power of directedness that some items exhibit while others do not. An approach to this issue prevalent in the philosophy of the past half-century seeks to explain the power of directedness in terms of certain items' ability to (...) reliably track things in their environment. A very different approach, with a venerable history and enjoying a recent resurgence, seeks to explain the power of directedness rather in terms of an intrinsic ability of conscious experience to direct itself. This book attempts a synthesis of both approaches, developing an account of the sources of such directedness that grounds it both in reliable tracking and in conscious experience. (shrink)

We studied two otherwise normal, synaesthetic subjects who `saw' a speci¢c colour every time they saw a speci¢c number or letter. We conducted four experiments in order to show that this was a genuine perceptual experience rather than merely a memory association. (i)The synaesthetically induced colours could lead to perceptual grouping, even though the inducing numerals or letters did not. (ii)Synaesthetically induced colours were not experienced if the graphemes were presented peripherally. (iii)Roman numerals were ine¡ective: the actual number grapheme was (...) required. (iv)If two graphemes were alternated the induced colours were also seen in alternation. However, colours were no longer experienced if the graphemes were alternated at more than 4 Hz. We propose that grapheme colour synaesthesia arises from `cross-wiring' between the `colour centre' (area V4 or V8)and the `number area', both of which lie in the fusiform gyrus. We also suggest a similar explanation for the representation of metaphors in the brain: hence, the higher incidence of synaesthesia among artists and poets. (shrink)