Erik Myin

Two kinds of vision science are distinguished: a representational versus a nonrepresentational one. Seeing in the former is conceived of as creating an internal replica of the external world, while in the latter seeing is taken to be a process of active engagement with the environment. The potential of each theory for elucidating artistic creation and aesthetic appreciation is considered, necessarily involving some comments on visual consciousness. This discussion is intended as a background against which various themes of the papers light up.

Smell 'sensations' are among the most mysterious of conscious experiences, and have been cited in defense of the thesis that the character of perceptual experience is independent of the physical events that seem to give rise to it. Here we review the scientific literature on olfaction, and we argue that olfaction has a distinctive profile in relation to the other modalities, on four counts: in the physical nature of the stimulus, in the sensorimotor interactions that characterize its use, in the structure of its intramodal distinctions and in the functional role that it plays in people's behaviour. We present two thought experiments in which we detail what would be involved in transforming sounds into smells, and also smells into colours. Through these thought-experiments, we argue that the experiential character of smell derives precisely from the structural features of olfaction, and that an embodied account of olfactory phenomenology is called for.

In this paper, we present an account of phenomenal consciousness. Phenomenal consciousness is experience, and the problem of phenomenal consciousness is to explain how physical processes?behavioral, neural, computational?can produce experience. Numerous thinkers have argued that phenomenal consciousness cannot be explained in functional, neural or information-processing terms (e.g. Block 1990, 1994; Chalmers 1996). Different arguments have been put forward. For example, it has been argued that two individuals could be exactly alike in functional/computational/behavioral measures, but differ in the character of their experience. Though such persons would behave in the same way, they would differ in how things felt to them (for example, red things might give rise to the experience in one that green things give rise to in the other). Similarly, it has been held that two individuals could be functionally/computationally/behaviorally alike although one of them, but not the other, is a mere zombie, that is, a robot-like creature who acts as if it has experience but is in fact phenomenally unconsciousness. For any being, it has been suggested, the question whether it has experience (is phenomenally conscious) cannot be answered by determining that it is an information-processor of this or that sort. The question is properly equivalent to the question whether there is anything it is like to be that individual (Nagel 1974). Attempts to explain consciousness in physical or information-processing terms sputter: we cannot get any explanatory purchase on experience when we try to explain it in terms of neural or computational processes. Once a particular process has been proposed as an explanation, we can then always reasonably wonder, it seems, what it is about that particular process that make it give rise to experience. Physical and computational mechanisms, it seems, require some further ingredient if they are to explain experience. This explanatory shortfall has aptly been referred to as "the explanatory gap" (Levine 1983)..

Music raises many problems for those who would understand it more deeply. It is rooted in time, yet timeless. It is pure form, yet conveys emotion. It is written, but performed, interpreted, improvised, transcribed, recorded, sampled, remixed, revised, rebroadcast, reinterpreted, and more. Music can be studied by philosophers, psychologists, sociologists, mathematicians, biologists, computer scientists, neuro-scientists, critics, politicians, promoters, and of course musicians. Moreover, no single perspective seems either sufficient or invalid. This situation is not so different from that of other arts, but perhaps more intense, due to the pervasiveness of pop, the inaccessability of much contemporary classical music, the strong cultural associations of many styles , the infusions of technology, and the combination with lyrics