Owen Flanagan argues that we are on the way to understanding consciousness and its place in the natural order.

Framing Consciousness in Art examines how the conscious mind enacts and processes the frame that both surrounds the work of art yet is also shown as an element inside its space. These `frames-in-frames¿ may be seen in works by Teniers, Velázquez, Vermeer, Degas, Rodin, and Cartier-Bresson and in the films of Alfred Hitchcock and Buñuel. The book also deals with framing in a variety of cultural contexts: Indian, Chinese and African, going beyond Euro-American formalist and aesthetic concerns which dominate critical (...) theories of the frame. (shrink)

Consciousness and Mind presents David Rosenthal's influential work on the nature of consciousness. Central to that work is Rosenthal's higher-order-thought theory of consciousness, according to which a sensation, thought, or other mental state is conscious if one has a higher-order thought that one is in that state. The first four essays develop various aspects of that theory. The next three essays present Rosenthal's homomorphism theory of mental qualities and qualitative consciousness, and show how that theory fits with and helps sustain (...) the HOT theory. A crucial feature of homomorphism theory is that it individuates and taxonomizes mental qualities independently of the way we're conscious of them, and indeed independently of our being conscious of them at all. So the theory accommodates the qualitative character not only of conscious sensations and perceptions, but also of those which fall outside our stream of consciousness. Rosenthal argues that, because this account of mental qualities makes no appeal to consciousness, it enables us to dispel such traditional quandaries as the alleged conceivability of undetectable quality inversion, and to disarm various apparent obstacles to explaining qualitative consciousness and understanding its nature. Six further essays build on the HOT theory to explain various important features of consciousness, among them the complex connections that hold in humans between consciousness and speech, the self-interpretative aspect of consciousness, and the compelling sense we have that consciousness is unified. Two of the essays, one an extended treatment of homomorphism theory, appear here for the first time. There is also a substantive introduction, which draws out the connections between the essays and highlights their implications. (shrink)

PART INTRODUCTIONS TO MERLEAU- PONTY'S PHI LOSOPH Y OF PAI NTI NG Galen A. Johnson ...

the Logische Untersuchungen,l phenomenology has been conceived as a substratum of empirical psychology, as a sphere comprising "imma nental" descriptions of psychical mental processes, a sphere compris ing descriptions that - so the immanence in question is understood - are strictly confined within the bounds of internal experience. It 2 would seem that my protest against this conception has been oflittle avail; and the added explanations, which sharply pinpointed at least some chief points of difference, either have not been understood (...) or have been heedlessly pushed aside. Thus the replies directed against my criticism of psychological method are also quite negative because they miss the straightforward sense of my presentation. My criticism of psychological method did not at all deny the value of modern psychology, did not at all disparage the experimental work done by eminent men. Rather it laid bare certain, in the literal sense, radical defects of method upon the removal of which, in my opinion, must depend an elevation of psychology to a higher scientific level and an extraordinary amplification ofits field of work. Later an occasion will be found to say a few words about the unnecessary defences of psychology against my supposed "attacks. (shrink)

An overview of higher-order representational theories of consciousness. Representational theories of consciousness attempt to reduce consciousness to “mental representations” rather than directly to neural or other physical states. This approach has been fairly popular over the past few decades. Examples include first-order representationalism (FOR) which attempts to explain conscious experience primarily in terms of world-directed (or first-order) intentional states (Tye 2005) as well as several versions of higher-order representationalism (HOR) which holds that what makes a mental state M conscious is (...) that it is the object of some kind of higher-order mental state directed at M. The primary focus of this entry is on HOR and especially higher-order thought (HOT) theory. The key question that should be answered by any theory of consciousness is: What makes a mental state a conscious mental state? Section 1 introduces the overall representationalist approach to consciousness and briefly discuss Tye’s FOR. Section 2 presents three major versions of HOR: higher-order thought theory, dispositional higher-order thought theory, and higher-order perception theory. In section 3, a number of common and important objections and replies are presented. Section 4 briefly outlines a close connection between HOT theory and conceptualism, that is, the claim that the representational content of a perceptual experience is entirely determined by the conceptual capacities the perceiver brings to bear in her experience. Section 5 examines several hybrid higher-order and “self-representational” theories of consciousness which all hold that conscious states are self-directed in some way. Section 6 addresses the potentially damaging claim that HOT theory requires neural activity in the prefrontal cortex (PFC) in order for one to have conscious states. (shrink)

The article will attempt to show that Velasquez's Las Meninas can be viewed as an allegorical enactment of some of the current debates and controversies in the philosophy of cognition and self-representation. I will focus on two very different philosophical trajectories, to which the allegory of the painting can be linked. The first, analytic, trajectory relates Las Meninas to the notion of representation and self-representation in the work of philosophers David Rosenthal, Robert Van Gulick, Uriah Kriegel and Bruce Mangan, and (...) neurologists Bernie Baars and Rodolfo Llinas. The second, continental, trajectory begins by relating to the painting Merleau-Ponty's phenomenological 'embodied self-representation'. This trajectory, which can be further linked to John Ziman's 'second person view' of reality, proceeds to relate Las Meninas to Lacan's 'object gaze' and the 'unbearable fragility of representation', ending with Bataille's (non)concept of 'sovereignty' as essential yet non-representable losses in representation. I will conclude by suggesting that the evolution of the cognitive state experienced by an observer of Las Meninas can be viewed as an 'ontogenetic' recapitulation of the more 'phylogenic' progression of the philosophical history of representation and self-representation alluded to by the canvas. (shrink)

If one looks at the current discussion of self-awareness there seems to be a general agreement that whatever valuable philosophical contributions Husserl might have made, his account of self-awareness is not among them. This prevalent appraisal is often based on the claim that Husserl was too occupied with the problem of intentionality to ever really pay attention to the issue of self-awareness. Due to his interest in intentionality Husserl took object-consciousness as the paradigm of every kind of awareness and therefore (...) settled with a model of self-awareness based upon the subject-object dichotomy, with its entailed difference between the intending and the intended. As a consequence, Husserl never discovered the existence of pre-reflective self- awareness, but remained stuck in the traditional, but highly problematic reflection model of self-awareness. (shrink)

Central to aesthetic experience, but also to experience in general, is the phenomenon of ‘seeing as'. We see a painting as a landscape, we hear sequence of sounds as a melody, we see a wooden contraption as a boat, and we hear a comment as an insult. There are interesting and important differences between these cases of ‘seeing as': the painting cannot literally be a landscape while the wooden contraption can literally be a boat; a failure to hear sounds as (...) a melody may count as a shortcoming whereas the failure to hear a comment as an insult may be admirable. Here I want to focus mainly on their similarities, however -- similarities that will lead us back to Kant, and to the nature of consciousness itself. The phenomenon of ‘seeing as’ presents certain familiar puzzles: how is seeing a painting as a landscape different from seeing a landscape, on the one hand, and from thinking of the painting as a landscape, on the other? ‘Seeing as’ is not the same as misperceiving, nor is it the same as offering an interpretation, yet it seems related to both. These puzzles are articulated in Section I, and some candidate solutions are rejected. Section II develops a Kantian account of experience showing how the convergence of conflicting representations, achieved through imaginative syntheses, is essential to the experience of objects and to consciousness itself. Kant's insights are used to evaluate some recent responses to the so-called ‘binding problem’ -- the problem of explaining how the contents of consciousness are bound together, and the role of the imagination is further detailed. Section III then returns to the difference between ordinary seeing and ‘seeing as', offering an explanation of the latter in terms of the framework developed in Section II. (shrink)

Diego Velasquez's Las Meninas (The Maids of Honour) is an intriguing work of representational art. It seems to me that there are two central ways to analyse the painting as involving some kind of 'representation of a representation'.