John Campbell investigates how consciousness of the world explains our ability to think about the world; how our ability to think about objects we can see depends on our capacity for conscious visual attention to those things. He illuminates classical problems about thought, reference, and experience by looking at the underlying psychological mechanisms on which conscious attention depends.

This chapter analyzes aspects of the relationship between consciousness and intentionality. It focuses on the phenomenal character and the intentional content of perceptual states, canvassing various possible relations among them. It argues that there is a good case for a sort of representationalism, although this may not take the form that its advocates often suggest. By mapping out some of the landscape, the chapter tries to open up territory for different and promising forms of representationalism to be explored in the (...) future. In particular, it argues for a nonreductive, narrow, and Fregean variety of representationalism, which contrasts strongly with more widely explored varieties. It concludes with some words about the fundamental relationship between consciousness and intentionality. (shrink)

Introduction This book is about the nature of the content of psychological states. Examples of psychological states with content are: believing today is a ...

The Conscious Brain brings neuroscientific evidence to bear on enduring philosophical questions. Major philosophical and scientific theories of consciousness are surveyed, challenged, and extended.

" Qualia " is an unfamiliar term for something that could not be more familiar to each of us: the ways things seem to us. As is so often the case with philosophical jargon, it is easier to give examples than to give a definition of the term. Look at a glass of milk at sunset; the way it looks to you--the particular, personal, subjective visual quality of the glass of milk is the quale of your visual experience at the (...) moment. The way the milk tastes to you then is another, gustatory quale, and how it sounds to you as you swallow is an auditory quale; These various "properties of conscious experience" are prime examples of qualia. Nothing, it seems, could you know more intimately than your own qualia ; let the entire universe be some vast illusion, some mere figment of Descartes' evil demon, and yet what the figment is made of will be the qualia of your hallucinatory experiences. Descartes claimed to doubt everything that could be doubted, but he never doubted that his conscious experiences had qualia, the properties by which he knew or apprehended them. (shrink)

What is attention? How does attention shape consciousness? In an approach that engages with foundational topics in the philosophy of mind, the theory of action, psychology, and the neurosciences this book provides a unified and comprehensive answer to both questions. Sebastian Watzl shows that attention is a central structural feature of the mind. The first half of the book provides an account of the nature of attention. Attention is prioritizing, it consists in regulating priority structures. Attention is not another element (...) of the mind, but constituted by structures that organize, integrate, and coordinate the parts of our mind. Attention thus integrates the perceptual and intellectual, the cognitive and motivational, and the epistemic and practical. The second half of the book concerns the relationship between attention and consciousness. Watzl argues that attentional structure shapes consciousness into what is central and what is peripheral. The center-periphery structure of consciousness cannot be reduced to the structure of how the world appears to the subject. What it is like for us thus goes beyond the way the world appears to us. On this basis, a new view of consciousness is offered. In each conscious experience we actively take a stance on the world we appear to encounter. It is in this sense that our conscious experience is our subjective perspective. (shrink)

Traditionally, perceptual experiences—for example, the experience of seeing a cat—were thought to have two quite distinct components. When one sees a cat, one’s experience is “about” the cat: this is the representational or intentional component of the experience. One’s experience also has phenomenal character: this is the sensational component of the experience. Although the intentional and sensational components at least typically go together, in principle they might come apart: the intentional component could be present without the sensational component or vice (...) versa. (shrink)

Sydney Shoemaker is one of the most influential philosophers currently writing on philosophy of mind and metaphysics. The essays in this collection deal with the way in which we know our own minds, and with the nature of those mental states of which we have our most direct conscious awareness. Professor Shoemaker opposes the 'inner sense' conception of introspective self-knowledge. He defends the view that perceptual and sensory states have non-representational features - 'qualia' - that determine what it is like (...) to have them. Amongst the other topics covered are the unity of consciousness, and the idea that the 'first-person perspective' gives a privileged route to philosophical understanding of the nature of mind. This major collection is sure to prove invaluable to all advanced students of the philosophy of mind and cognitive science. (shrink)

Much of recent philosophy of perception is oriented towards accounting for the phenomenal character of perception—what it is like to perceive—in a non-mentalistic way—that is, without appealing to mental objects or mental qualities. In opposition to such views, I claim that the phenomenal character of perception of a red round object cannot be explained by or reduced to direct awareness of the object, its redness and roundness—or representation of such objects and qualities. Qualities of perception that are not captured by (...) what one is directly aware of or by representational content are instances of what Gilbert Harman has called “mental paint” (Block, 1990; Harman, 1990). The claim of this paper is that empirical facts about attention point in the direction of mental paint. The argument starts with the claim (later modified) that when one moves one's attention around a scene while keeping one's eyes fixed, the phenomenology of perception can change in ways that do not reflect which qualities of objects one is directly aware of or the way the world is represented to be. These changes in the phenomenology of perception cannot be accounted for in terms of awareness of or representation of the focus of attention because they manifest themselves in experience as differences in apparent contrast, apparent color saturation, apparent size, apparent speed, apparent time of occurrence and other appearances. There is a way of coping with these phenomena in terms of vague contents, but vague contents cannot save direct realism or representationism because the kind of vagueness required clashes wth the phenomenology itself. (shrink)

Representationalism is a thesis about the phenomenal character of experiences, about their immediate subjective ‘feel’.1 At a minimum, the thesis is one of supervenience: necessarily, experiences that are alike in their representational contents are alike in their phenomenal character. So understood, the thesis is silent on the nature of phenomenal character. Strong or pure representationalism goes further. It aims to tell us what phenomenal character is. According to the theory developed in Tye 1995, phenomenal character is one and the same (...) as representational content that meets certain further conditions. One very important motivation for this theory is the so-called ? transparency of experience.? The purpose of this paper is to elucidate the appeal to transparency more carefully than has been done hithertofore, to make some remarks about the introspective awareness of experience in light of this appeal, and to consider one problem case for transparency at some length, that of blurry vision. Along the way, I shall also address some of the remarks Stephen Leeds makes in his essay on transparency. (shrink)

I argue that perceptual content is always affected by the allocation of one’s attention. Perception attributes determinable and determinate properties to the perceived scene. Attention makes (or tries to make) our perceptual attribution of properties more determinate. Hence, a change in our attention changes the determinacy of the properties attributed to the perceived scene.

Intuitions about the transparency of experience have recently begun to play a key role in the debate about qualia. Specifically, such intuitions have been used by representationalists to support their view that the phenomenal character of our experience can be wholly explained in terms of its intentional content.[i] But what exactly does it mean to say that experience is transparent? In my view, recent discussions of transparency leave matters considerably murkier than one would like. As I will suggest, there is (...) reason to believe that experience is not transparent in the way that representationalism requires. Although there is a sense in which experience can be said to be transparent, transparency in this sense does not give us any particular motivation for representationalism—or at least, not the pure or strong representationalism that it is usually invoked to support. (shrink)

I propose a new argument showing that conscious vision sometimes depends constitutively on conscious attention. I criticise traditional arguments for this constitutive connection, on the basis that they fail adequately to dissociate evidence about visual consciousness from evidence about attention. On the same basis, I criticise Ned Block's recent counterargument that conscious vision is independent of one sort of attention (‘cognitive access'). Block appears to achieve the dissociation only because he underestimates the indeterminacy of visual consciousness. I then appeal to (...) empirical work on the interaction between visual indeterminacy and attention, to argue for the constitutive connection. (shrink)

In this essay, I want to take another look at the phenomenon of transparency and its relevance to qualia realism and representationalism. I don’t suppose that what I have to say will cause those who disagree with me to change their minds, but I hope not only to clarify my position and that of others who are on my side of the debate but also to respond to various criticisms and objections that have arisen over the last 10–15 years or (...) so.The transparency thesisI begin with four quotations, two from G. E. Moore, one from Gilbert Harman, and one from an earlier paper of mine:…that which makes the sensation of blue a mental fact seems to escape us; it seems, if I may use a metaphor, to be transparent — we look through it and see nothing but the blue… (Moore 1903, p. 446).When we try to introspect the sensation of blue, all we can see is the blue: the other element is as if it were diaphanous (Moore 1903, p. 450).When Eloise sees a tree before her, the colors she experiences are all experien. (shrink)

Perceptual attention is essential to both thought and agency, for there is arguably no demonstrative thought or bodily action without it. Psychologists and philosophers since William James have taken attention to be a ubiquitous and distinctive form of consciousness, one that leaves a characteristic mark on perceptual experience. As a process of selecting specific perceptual inputs, attention influences the way things perceptually appear. It may then seem that it is a specific feature of perceptual representation that constitutes what it is (...) like to consciously attend to an object. In fact conscious attention is more complicated. In what follows, I argue that the phenomenology of conscious attention to what is perceived involves not just a way of perceptually locking on to a specific object. It necessarily involves a way of cognitively locking on to it as well. (shrink)

Listening to someone from some distance in a crowded room you may experience the following phenomenon: when looking at them speak, you may both hear and see where the source of the sounds is; but when your eyes are turned elsewhere, you may no longer be able to detect exactly where the voice must be coming from. With your eyes again fixed on the speaker, and the movement of her lips a clear sense of the source of the sound will (...) return. This ‘ventriloquist’ effect reflects the ways in which visual cognition can dominate auditory perception. And this phenomenological observation is one that you can verify or disconfirm in your own case just by the slightest reflection on what it is like for you to listen to someone with or without visual contact with them. (shrink)

Some philosophers have argued recently that introspective evidence provides direct support for an intentionalist theory of visual experience. An intentionalist theory of visual experience treats experience as an intentional state, a state with an intentional content. (I shall use the word ’state’ in a general way, for any kind of mental phenomenon, and here I shall not distinguish states proper from events, though the distinction is important.) Intentionalist theories characteristically say that the phenomenal character of an experience, what it is (...) like to have the experience, is exhausted by its intentional content. Visual experience, and on some views sense-experience generally, does not involve the awareness of ’qualia’, intrinsic, non-intentional features of the experience. According to Gilbert Harman and Michael Tye, support for this view comes from introspecting on experience. Tye describes his ’argument from introspection’ as follows: Standing on the beach in Santa Barbara a couple of summers ago on a bright sunny day, I found myself transfixed by the intense blue of the Pacific Ocean. Was I not here delighting in the phenomenal aspects of my visual experience? And if I was, doesn’t this show that there are visual qualia? I am not convinced. It seems to me that what I found so pleasing in the above instance, what I was focusing on, as it were, were a certain shade and intensity of the colour blue. I experienced blue as a property of the ocean not as a property of my experience. My experience itself certainly wasn’t blue. Rather, it was an experience which represented the ocean as blue. What I was really delighting in, then, were specific aspects of the content of the experience. Tye goes on to suggest that this might have been the sort of thing Moore meant when he said that the sensation of blue is ’diaphanous’, and glosses this as follows: When one tries to focus on it in introspection one cannot help but see right through it so that what one actually ends up attending to is the real colour blue. 1An early version of this paper was presented at the conference, Mental Phenomena III in Dubrovnik, Croatia.. (shrink)

Many alleged counter-examples to intentionalism, the thesis that the phenomenology of perceptual experiences of a given sense modality supervenes on the contents of experiences of that modality, can be avoided by adopting a liberal view of the sorts of properties that can be represented in perceptual experience. I argue that there is a class of counter-examples to intentionalism, based on shifts in attention, which avoids this response. A necessary connection between the contents and phenomenal characters of perceptual experiences can be (...) preserved by distinguishing perceptual phenomenology from the phenomenology of attention; but even if this distinction is viable, these cases put pressure on the thesis that phenomenal character can, in general, be explained in terms of mental representation. (shrink)

Drawing on the empirical premise that attention makes objects look more intense, Ned Block has argued for mental paint, a phenomenal residue that cannot be reduced to what is perceived or represented. If sound, Block's argument would undermine direct realism and representationism, two widely held views about the nature of conscious perception. We argue that Block's argument fails because the empirical premise it is based upon is false. Attending to an object alters its salience, but not its perceived intensity. We (...) also argue that salience should be equated with mental primer, a close cousin of mental paint that reintroduces difficulties for direct realism and representationism. The upshot is that direct realism and representationism are still in trouble, but not for the reason that Block thinks. (shrink)

Philosophers have not been very preoccupied by the link between emotions and attention. The few that did (de Sousa, 1987) never really specified the relation between the two phenomena. Using empirical data from the study of the emotion of fear, we provide a description (and an explanation) of the links between emotion and attention. We also discuss the nature (empirical or conceptual) of these links.

This paper gives a brief presentation of adverbialism about attention, and explains some of the reasons why it gives an appealing account of attention's metaphysics.

Does attention alter appearance? This critical issue, debated for over a century, remains unsettled. From psychophysical evidence that covert attention affects early vision-it enhances contrast sensitivity and spatial resolution-and from neurophysiological evidence that attention increases the neuronal contrast sensitivity (contrast gain), one could infer that attention changes stimulus appearance. Surprisingly, few studies have directly investigated this issue. Here we developed a psychophysical method to directly assess the phenomenological correlates of attention in humans. We show that attention alters appearance; it boosts (...) the apparent stimulus contrast. These behavioral results are consistent with neurophysiological findings suggesting that attention changes the strength of a stimulus by increasing its 'effective contrast' or salience. (shrink)