The sheer number of theories of consciousness, an abundance that may be unprecedented in the history of science, suggests a profound problem in this domain. This paper attempts to pinpoint the source of the difficulty, beyond the obvious complications associated with explaining the presence of mind in a world of matter. In particular, the argument is put forth that consciousness, when viewed as a binary category with respect to state or content, will of necessity engender compatibility with any number of (...) possible hypotheses. Moreover, it will be difficult to distinguish between these competing accounts, especially when they differ in type as well as in form. To remedy this, it is suggested that a bolder approach is needed, and one in which the proposed theory is consistent with a more traditional scientific template; that is, one that describes more precisely how some aspect of consciousness varies as the underlying variables change. Theories of this type will be more easily falsified, and thus the pantheon of competing accounts can be winnowed more readily. The paper concludes with an example of such a theory in the domain of colour perception, demonstrating that it is indeed possible to make strong claims in spite of the difficulties attending this field. (shrink)

Functionalism, which views consciousness as the product of the processing of stimuli by the brain, is perhaps the dominant view among researchers in the cognitive sciences and associated fields. However, as a workable scientific model of consciousness, it has been marred by a singular lack of tangible success, except at the broadest levels of explanation. This paper argues that this is not an accident, and that in its standard construal it is simply too unwieldy to assume the burden of full-fledged (...) theory. In its place, a reduced functionalism is introduced by applying the principle of parsimony successively to the elements of standard functionalism until only a minimal framework remains. This simpler account states that consciousness is a function of instantaneous causal relations between processing elements rather the putative algorithm such relations are instantiating. It is then argued as a corollary that the only such relations that matter are those in which reciprocal influences are at play. Thus, purely afferent and efferent causal relations are pruned from consideration. The theory resulting from the addition of this corollary is shown to have good correspondence with a number of recent neurophysiologically-motivated approaches to consciousness, including those that stress the importance of reentry, those that view synchrony as a key independent variable, and those that highlight the importance of the accessibility of conscious contents to multiple processing modules. In addition, the theory is shown to be consistent with recent results in the literature on masking, and those in the literature on binocular rivalry. The paper concludes by arguing that the theoretical and empirical difficulties inherent in consciousness research imply that the principle of parsimony must occupy a more central role in consciousness research than it would in ordinary scientific discourse. (shrink)

Music exists not to be parsed, categorized, or otherwise processed, but because it provides enjoyment. Thus methodologies that concentrate on the cognitive aspects of music alone omit what is essential about this aesthetic form. This paper provides an alternative approach by proposing a measure of musical preference. Specifically, it is argued that a musical passage will be preferred to the extent that it induces synchrony in those brain structures that are responsible for processing the passage. It is first shown that (...) this conception is consistent with time-honored principle of unity in diversity. It is then argued that the synchrony measure follows from more recent results regarding a possible solution to the binding problem. The bulk of the paper, however, is concerned with verifying the measure via simulation. It is shown, in particular, that the measure applied to a network of interacting integrate and fire neurons responsible for the processing of musical stimuli produces results consistent with human musical preference. This was carried out in three areas in the context of Western classical and popular musical forms. First, the model was applied to the laws of voice leading and other principles developed in the period of common harmonic practice. Next, it was shown that the three most salient aspects of melody, the preponderance of stepwise transitions, the theme and variation nature of phrase development, and increased positive affect with exposure all follow directly from the model. Finally, it was demonstrated how a steady rhythm can increase neural synchrony and presumably positive affect. Additional simulations run on Turkish art songs show that the synchrony measure may have some applicability to non-Western musical forms. The paper concludes by arguing that the synchrony measure may, in certain cases, apply to non-musical aesthetic stimuli. (shrink)