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

Breaking new ground in the debate about the relation of mind and body, David Armstrong's classic text - first published in 1968 - remains the most compelling and comprehensive statement of the view that the mind is material or physical. In the preface to this new edition, the author reflects on the book's impact and considers it in the light of subsequent developments. He also provides a bibliography of all the key writings to have appeared in the materialist debate.

Ned Block argues that the higher-order (HO) approach to explaining consciousness is ‘defunct’ because a prominent objection (the ‘misrepresentation objection’) exposes the view as ‘incoherent’. What’s more, a response to this objection that I’ve offered elsewhere (Weisberg 2010) fails because it ‘amounts to abusing the notion of what-it’s-like-ness’ (xxx).1 In this response, I wish to plead guilty as charged. Indeed, I will continue herein to abuse Block’s notion of what-it’s-like-ness. After doing so, I will argue that the HO approach accounts (...) for the sense of what-it’s-like-ness that matters in a theory of consciousness. I will also argue that the only incoherence present in the HO theory is that generated by embracing Block’s controversial notion of what-it’s-like-ness, something no theorist of any stripe ought to do. Block is famous for (among other things) having introduced the notion of ‘phenomenal consciousness’ into contemporary philosophy of mind (Block 1995). This term is widely employed in the philosophical literature and it even appears in the empirical literature. But wide-speared usage has brought about divergent interpretations of the term. We can distinguish a ‘moderate’ and a ‘zealous’ reading of ‘phenomenal consciousness’. On the moderate reading, ‘phenomenal consciousness’ just means ‘experience’. Many people have embraced this sense of the term and use it to roughly pick out conscious experience involving sensory quality (states like conscious visual experiences or conscious pains, for example).2 On the zealous reading, however, phenomenal consciousness is held to be ‘distinct from any cognitive, intentional, or functional property’ (Block 1995: 234). That is, any explanation of phenomenal consciousness in exclusively cognitive, intentional, or functional terms will fail to capture, without remainder, what is really distinctive about phenomenal consciousness. Block, of course, is fully clear about embracing the zealous reading; indeed, his initial introduction of the notion is in those terms. The same ambiguity occurs with the much-used (and abused) idea of ‘what-it’s-like-ness’.. (shrink)

What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a compelling case (...) for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)

It’s often held that undetectable inversion of mental qualities is, if not possible, at least conceivable. It’s thought to be conceivable that the mental quality your visual states exhibit when you see something red in standard conditions is literally of the same type as the mental quality my visual states exhibit when I see something green in such circumstances. It’s thought, moreover, to be conceivable that such inversion of mental qualities could be wholly undetectable by any third-person means. And since (...) first- person access is limited to a single individual, and so could not reveal a disparity in mental quality between us, third-person undetectability means undetectability tout court. (shrink)

Ned BlockÕs influential distinction between phenomenal and access consciousness has become a staple of current discussions of consciousness. It is not often noted, however, that his distinction tacitly embodies unargued theoretical assumptions that favor some theoretical treatments at the expense of others. This is equally so for his less widely discussed distinction between phenomenal consciousness and what he calls reflexive consciousness. I argue that the distinction between phenomenal and access consciousness, as Block draws it, is untenable. Though mental states that (...) have qualitative character plainly differ from those with no mental qualities, a mental stateÕs being conscious is the same property for both kinds of mental state. For one thing, as Block describes access consciousness, that notion does not pick out any property that we intuitively count as a mental stateÕs being conscious. But the deeper problem is that BlockÕs notion of phenomenal consciousness, or phenomenality, is ambiguous as between two very different mental properties. The failure to distinguish these results in the begging of important theoretical questions. Once the two kinds of phenomenality have been distinguished, the way is clear to explain qualitative consciousness by appeal to a model such as the higher-order-thought hypothesis. Ó 2002 Elsevier Science . All rights reserved. (shrink)

... ISBN0199215928 ... -/- Abstract: Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical (...) view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned. -/- . (shrink)

Vision has been the primary focus of naturalistic philosophical research concerning perception and perceptual experience. Guided by visual experience and vision science, many philosophers have focused upon theoretical issues dealing with the perception of objects. Recently, however, hearing researchers have discussed auditory objects. I present the case for object perception in vision, and argue that an analog of object perception occurs in auditory perception. I propose a notion of an auditory object that is stronger than just that of an intentional (...) object of audition, but that does not identify auditory objects with the ordinary material objects we see. (shrink)

It is often supposed that our experience of sounds is as of things distinct from the material world of sight and touch: reflecting on the character of our auditory experience might seem to confirm that. This paper describes the features of our auditory experience that can lead one to think of sounds in this way. It then describes a way we can experience sounds as being part of the material world. Since this is a kind of experience that essentially involves (...) more than one sense, the paper ends by drawing some conclusions about how we should think about the senses. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Drawing on work in psychophysics, psychometrics, and sensory neurophysiology, Clark analyzes the character and defends the integrity of psychophysical explanations of qualitative facts, arguing that the structure of such explanations is sound and potentially successful.

Consciousness is the subject of many metaphors, and one of the most hardy perennials compares consciousness to a spotlight, illuminating certain mental goings-on, while leaving others to do their work in the dark. One way of elaborating the spotlight metaphor is this: mental events are loaded on to one end of a conveyer belt by the senses, and move with the belt.

In this paper I examine the dispute between Hakwan Lau, Ned Block, and David Rosenthal over the extent to which empirical results can help us decide between first-order and higher-order theories of consciousness. What emerges from this is an overall argument to the best explanation against the first-order view of consciousness and the dispelling of the mythological notion of phenomenological overflow that comes with it.

The higher order approach to consciousness attempts to build a theory of consciousness from the insight that a conscious state is one that the subject is conscious of. There is a well-known objection1 to the higher order approach, a version of which is fatal. Proponents of the higher order approach have realized that the objection is significant. They have dealt with it via what David Rosenthal calls a “retreat” (2005b, p. 179) but that retreat fails to solve the problem.

Many philosophers doubt that one can provide any successful explanation of sensory qualities - of how things look, feel, or seem to a perceiving subject. To provide such an explanation, one would need to explain qualitative facts in non-qualitative terms. Attempts to construct such explanations have seemed, in principle, doomed. Austen Clark examines the strategy used in psychophysics, psychometrics, and sensory neurophysiology to explain qualitative facts. He argues that this strategy could succeed: its structure is sound, and it can answer (...) the various philosophical objections lodged against it. On this basis Professor Clark presents an analysis of senosry qualities that offers the possibility of explaining at least some qualia, and he sketches how this scheme might eventually reduce to neurophysiology. If he is correct, we are not doomed to an eternity of mere acquaintance with our qualia. (shrink)

Consciousness is arguably the most important area within contemporary philosophy of mind and perhaps the most puzzling aspect of the world. Despite an explosion of research from philosophers, psychologists, and scientists, attempts to explain consciousness in neurophysiological, or even cognitive, terms are often met with great resistance. In The Consciousness Paradox, Rocco Gennaro aims to solve an underlying paradox, namely, how it is possible to hold a number of seemingly inconsistent views, including higher-order thought (HOT) theory, conceptualism, infant and animal (...) consciousness, concept acquisition, and what he calls the HOT-brain thesis. He defends and further develops a metapsychological reductive representational theory of consciousness and applies it to several importantly related problems. Gennaro proposes a version of the HOT theory of consciousness that he calls the "wide intrinsicality view" and shows why it is superior to various alternatives, such as self-representationalism and first-order representationalism. HOT theory says that what makes a mental state conscious is that a suitable higher-order thought is directed at that mental state. -/- Thus Gennaro argues for an overall philosophical theory of consciousness while applying it to other significant issues not usually addressed in the philosophical literature on consciousness. Most cognitive science and empirical works on such topics as concepts and animal consciousness do not address central philosophical theories of consciousness. Gennaro’s integration of empirical and philosophical concerns will make his argument of interest to both philosophers and nonphilosophers. (shrink)

Introduction: What is philosophy of mind? -- The key terms -- The key thinkers -- The key texts.

Sounds and Perception brings together original essays on auditory perception and the nature of sounds - an emerging area of interest in the philosophy of mind and perception, and in the metaphysics of sensible qualities. The essays discuss a wide range of issues, including the nature of sound, the spatial aspects of auditory experience, hearing silence, musical experience, and the perception of speech; a substantial introduction by the editors serves to contextualise the essays and make connections between them. The collection (...) serves both as an introduction to the nature of auditory perception and as the definitive resource for coverage of the main questions that constitute the philosophy of sounds and audition. (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)

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)

In this wide-ranging study, Levine explores both sides of the mind-body dilemma, presenting the first book-length treatment of his highly influential ideas on the How does one explain the physical nature of an experience? This puzzle, the "explanatory gap" between mind and body, is the focus of this work by an influential scholar in the field.

How can phenomenal consciousness exist as an integral part of a physical universe? How can the technicolour phenomenology of our inner lives be created out of the complex neural activities of our brains? Many have despaired of finding answers to these questions; and many have claimed that human consciousness is inherently mysterious. Peter Carruthers argues, on the contrary, that the subjective feel of our experience is fully explicable in naturalistic terms. Drawing on a variety of interdisciplinary resources, he develops and (...) defends a novel account in terms of higher-order thought. He shows that this can explain away some of the more extravagant claims made about phenomenal consciousness, while substantively explaining the key subjectivity of our experience. Written with characteristic clarity and directness, and surveying a wide range of extant theories, this book is essential reading for all those within philosophy and psychology interested in the problem of consciousness. (shrink)

We discuss cases where subjects seem to enjoy conscious experience when the relevant first-order perceptual representations are either missing or too weak to account for the experience. Though these cases are originally considered to be theoretical possibilities that may be problematical for the higher-order view of consciousness, careful considerations of actual empirical examples suggest that this strategy may backfire; these cases may cause more trouble for first-order theories instead. Specifically, these cases suggest that (I) recurrent feedback loops to V1 are (...) most likely not the neural correlate of first-order representations for conscious experience, (II) first-order views seem to have a problem accounting for the phenomenology in these cases, and either (III) a version of the ambitious higher-order approach is superior in that it is the simplest theory that can account for all results at face value, or (IV) a view where phenomenology is jointly determined by both first-order and higher-order states. In our view (III) and (IV) are both live options and the decision between them may ultimately be an empirical question that cannot yet be decided. (shrink)

One of the promising approaches to the problem of consciousness has been the Higher-Order Monitoring Theory of Consciousness. According to the Higher-Order Monitoring Theory, a mental state M of a subject S is conscious iff S has another mental state, M*, such that M* is an appropriate representation of M. Recently, several philosophers have developed a Higher-Order Monitoring theory with a twist. The twist is that M and M* are construed as entertaining some kind of constitutive relation, rather than being (...) logically independent of each other. We may call this the Same-Order Monitoring Theory of Consciousness. In this paper, I discuss the nature of the Same-Order Monitoring Theory and argue for its superiority over the more traditional Higher-Order Monitoring Theory. (shrink)

A touchstone of much modern theorizing about the mind is the idea, still tac- itly accepted by many, that a state's being mental implies that it's conscious. This view is epitomized in the dictum, put forth by theorists as otherwise di-.

There is a growing consensus in the philosophical literature that sounds differ rather profoundly from colors. Colors are qualities, while sounds are particulars of some sort or other, such as events or pressure waves. A key motivation for this is that sounds seem to be transient, to evolve over time, to begin and end, while colors seem like stable qualities of objects' surfaces. I argue that sounds are indeed, like colors, stable qualities of objects. Sounds are not transient, and they (...) do not seem to be, even though they are typically perceived transiently. In particular, sounds are dispositions of objects to vibrate in response to being stimulated. This stable property view of sounds aligns nicely with, and owes an inspirational debt to, reflectance physicalist accounts of color. The upshot is a unified picture of colors, sounds, and the perception thereof. (shrink)

Disagreeing with Jerrold Levinson's claim that being conscious of broad-span musical form is not essential to understanding music, I will argue that our awareness of musical architecture is significant to achieve comprehension. I will show that the experiential model is not incompatible with the analytic model. My main goal is to show that these two models can be reconciled through the identification of a broader notion of understanding. After accomplishing this reconciliation by means of my new conception, I will close (...) the paper by discussing some reasons to accept an enhancing notion of musical understanding that includes levels and degrees of understanding. /// En desacuerdo con la afirmación de Jerrold Levinson: que ser consciente de la forma musical a gran escala no es esencial para comprender la música, sostendré que nuestra conciencia de la estructura musical es significante para alcanzar comprensión. Mostraré que el modelo experiencial no es incompatible con el modelo analítico y que ambos pueden ser reconciliados mediante una noción de comprensión más amplia. Después de llevar a cabo está reconciliación mediante la nueva concepción que propongo, concluiré discutiendo algunas razones para aceptar una noción de comprensión musical enriquecida que incluye niveles y grados de comprensión. (shrink)

We discuss the distinction between the sensory modalities; the metaphysics of sounds; and the structure of sound space. We defend a physicalist conception of sounds, without accepting the identification of sounds with sound-waves in the medium. Sounds, we hold, are events in resonating objects. We evaluate the two main accounts of orientation in perceptual space: relationism and absolutism. We then address Strawson's problem of whether the logical space of sounds could be spatial in the full sense of the term. In (...) the Appendix, we discuss the logic of perceptual auditory reports, and show their compatibility with our theory of sounds. (shrink)