Barbara Gail Montero

Is the neurophysiology of pain all there is to pain? How do words and mental pictures come to represent things in the world? Do computers think, and if so, are their thought processes significantly similar to our thought processes? Or is there something distinctive about human thought thatprecludes replication in a computer? These are some of the puzzles that motivate the philosophical discipline called "philosophy of mind," a central area of philosophy.This Very Short Introduction introduces the philosophy of mind, and looks at some of the most interesting and important topics in this fascinating field, including the mind-body problem and dualism. Barbara Montero also discusses minds other than our own, and the problems associated with definingconsciousness in animals, aliens and machines. Considering these and other such thorny issues such as physicalism and intentionality, she demonstrates how questions of the philosophy of mind also infiltrate disciplines outside of philosophy, including psychology, neuroscience, economics,evolutionary biology, and linguistics. As she observes, most everyone, at some time or another, has ruminated over the relation between mind and matter.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, andenthusiasm to make interesting and challenging topics highly readable.

Athletes sometimes describe “being in the zone,” as a time when their actions flow effortlessly and flawlessly without the guidance of thought. But is it true that athletes don't think when performing at their best? Numerous studies (such as Beilock et al. 2004, 2007 Ford et al 2005, Baumeister 1984, Masters 1992, Wulf & Prinz 2001, Beilock & DeCaro, 2007). However, I aim to argue that because even highly‐practiced skills can remain in part under an expert athlete's conscious control, thinking does not hinder expert performance.

Dreyfus and Dreyfus’ influential phenomenological analysis of skill acquisition proposes that expert performance is guided by non-cognitive responses which are fast, effortless and apparently intuitive in nature. Although this model has been criticised for over-emphasising the role that intuition plays in facilitating skilled performance, it does recognise that on occasions a form of ‘detached deliberative rationality’ may be used by experts to improve their performance. However, Dreyfus and Dreyfus see no role for calculative problem solving or deliberation when performance is going well. In the current paper, we draw on empirical evidence, insights from athletes, and phenomenological description to argue that ‘continuous improvement’ among experts is mediated by cognitive control in three distinct sporting situations. We conclude by arguing that Sutton et al. Journal of the British Society for Phenomenology, 42, 78–103 ‘applying intelligence to the reflexes’ approach may help to elucidate the process by which expert performers achieve continuous improvement through analytical/mindful behaviour during training and competition

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed

How does thinking affect doing? There is a widely held view that thinking about what you are doing, as you are doing it, hinders performance. Once you have acquired the ability to putt a golf ball, play an arpeggio on the piano, or parallel-park, reflecting on your actions leads to inaccuracies, blunders, and sometimes even utter paralysis--that's what is widely believed. But is it true? After exploring some of the contemporary and historical manifestations of the idea, Barbara Gail Montero develops a theory of expertise which emphasizes the role of the conscious mind in expert action. She aims to dispel various myths about experts who proceed without any understanding of what guides their action, and she analyzes research in both philosophy and psychology that is taken to show that conscious control and explicit monitoring of one's movements impedes well practiced skills. Montero explores a wide range of real-life examples of optimal performance, in sports, the performing arts, healthcare, the military, and other fields, and draws from psychology, neuroscience, and literature to offer a refreshing and persuasive view of expertise, according to which expert action generally is and ought to be thoughtful, effortful, and reflective.

My dissertation focuses on the foundations of the mind-body problem: how we should think about the physical world, what the role of science is in arriving at a solution to the problem, and whether it is possible to answer metaphysical questions about the mind while admitting epistemic defeat. ;Many philosophers argue that the mind is physical, but few spend much time explaining what counts as being physical. This, I argue, is a mistake: if the mind-body problem is the problem of explaining how the mind could be physical, we should have some understanding of what it means to be physical. In other words, in order to solve the mind-body problem, we must also solve the body problem. Surprisingly enough, however, a solution to the body problem is not forthcoming. ;Where, then, does this leave the mind-body problem? One might think that the impossibility of solving the body problem dissolves mind-body problem entirely. This, I argue, is not the case. Rather, the most troubling aspect of the mind-body problem does not dissolve in light of our inability to solve the body problem. For regardless of whether we understand what it means to be physical, we can still ask whether mentality is a fundamental feature of the world. Thus I propose that rather than thinking of the mind-body problem as the problem of finding a place for mentality in a fundamentally physical world, we should think of it as the problem of finding a place for mentality in a world that is, at its most fundamental level, entirely nonmental. The crux of the mind-body problem, then, is whether mentality is fundamental. ;Finally, I argue that it is difficult to justify ontological-conclusions about the mind while holding that we will never understand the mind. A number of philosophers think that while we cannot explain how the mind is physical we can know that it is physical, nonetheless. I argue that given a commitment to the inexplicability of the mind, arguments for ontological physicalism are not persuasive and conclude that physicalists must strive to understand the mind. Anything less amounts to giving up

Imagine that our world were such that the entities, properties, laws, and relations of fundamental physics did not determine what goes on at the mental level; imagine that duplicating our fundamental physics would fail to duplicate the pleasures, feelings of joy, and experiences of wonder that we know and love; in other words, imagine that the mental realm did not supervene on the physical realm. Would our world, then, be a world in which physicalism is false? A good number of philosophers who ponder such issues—perhaps all philosophers who have hitherto pondered such issues—answer “yes.” The purpose of this paper is to suggest that, despite what physicalists say, they don’t think so, either. What is it that they really think? What is the actual doctrine of physicalism? I conclude withan attempt to uncover that as well.

I have a painfully vivid memory of performing the Venezuelan choreographer Vincente Nebrada’s ballet Pentimento.After graduating from high school at age 15 and before entering college, I spent a number of years working as a professional ballet dancer with North Carolina Dance Theatre , among other companies. I was a new member of North Carolina Dance Theatre, and although the company had presented the piece on a number of occasions, this was the first time the director was watching from the audience rather than the wings. In the middle of a pas de deux, I choked big time and blanked out on the choreography; try as I may, I could not remember a single step. My partner, who had been with the company for years, knew what was going on and manipulated my limbs until something clicked and I was able to find the choreography again. Following the performance, when we gathered onstage for notes, the director was so appalled that the only comme ..

It is widely thought that focusing on highly skilled movements while performing them hinders their execution. Once you have developed the ability to tee off in golf, play an arpeggio on the piano, or perform a pirouette in ballet, attention to what your body is doing is thought to lead to inaccuracies, blunders, and sometimes even utter paralysis. Here I re-examine this view and argue that it lacks support when taken as a general thesis. Although bodily awareness may often interfere with well-developed rote skills, like climbing stairs, I suggest that it is typically not detrimental to the skills of expert athletes, performing artists, and other individuals who endeavor to achieve excellence. Along the way, I present a critical analysis of some philosophical theories and behavioral studies on the relationship between attention and bodily movement, an explanation of why attention may be beneficial at the highest level of performance and an error theory that explains why many have thought the contrary. Though tentative, I present my view as a challenge to the widespread starting assumption in research on highly skilled movement that at the pinnacle of skill attention to one's movement is detrimental

A number of philosophers think that, while we cannot explain how the mind is physical, we can know that it is physical, nonetheless. That is, they accept both the explanatory gap between the mental and the physical and ontological physicalism. I argue that this position is unstable. Among other things, I argue that once one accepts the explanatory gap, the main argument for ontological physicalism, the argument from causation, loses its force. For if one takes physical/nonphysical causation and ontological physicalism to be equally mysterious, as physicalists who accept the explanatory gap are inclined to do, there is little justification for accepting ontological physicalism rather than rejecting the causal closure of the physical.

Might the world be structured, as Leibniz thought, so that every part of matter is divided ad infinitum? The Physicist David Bohm accepted infinitely decomposable matter, and even Steven Weinberg, a staunch supporter of the idea that science is converging on a final theory, admits the possibility of an endless chain of ever more fundamental theories. However, if there is no fundamental level, physicalism, thought of as the view that everything is determined by fundamental phenomena and that all fundamental phenomena are physical, turns out false, for in such a world, there are no fundamental phenomena, and so fundamental phenomena determine nothing. While some take physicalism necessarily to posit a fundamental level, here I present a thesis of physicalism that allows for its truth even in an infinitely decomposable world.

I am going to argue that it is time to come to terms with the difficulty of understanding what it means to be physical and start thinking about the mind-body problem from a new perspective. Instead of construing it as the problem of finding a place for mentality in a fundamentally physical world, we should think of it as the problem of finding a place for mentality in a fundamentally nonmental world, a world that is at its most fundamental level entirely nonmental. The mind-body problem, I want to argue, is the problem of determining whether mentality can be accounted for in terms of nonmental phenomena. In other words, it is the question, ‘is mentality a fundamental feature of the world’

Might the world be structured, as Leibniz thought, so that every part of matter is divided ad infinitum? The Physicist David Bohm accepted infinitely decomposable matter, and even Steven Weinberg, a staunch supporter of the idea that science is converging on a final theory, admits the possibility of an endless chain of ever more fundamental theories. However, if there is no fundamental level, physicalism, thought of as the view that everything is determined by fundamental phenomena and that all fundamental phenomena are physical, turns out false, for in such a world, there are no fundamental phenoma, and so fundamental phenomena determine nothing. While some take physicalism necessarily to posit a fundamental level, here I present a thesis of physicalism that allows for its truth even in an infinitely decomposable world.

What is it for a bodily movement to be effortless? What are we appreciating when we admire a dancer’s effortless leaps, a basketball player’s effortless shot, or even a seagull’s effortless soar? I propose to explore the notion of effortlessness by distinguishing various kinds of effortless bodily movements, examining the idea that effortless movements are smooth, predictable ones, discussing the relations between effortlessness and difficulty and effortlessness and actual ease, and speculating briefly about how we perceive and why we take pleasure in watching effortless movements.

The conservation of energy law, a law of physics that states that the total energy of any closed system is always conserved, is a bedrock principle that has achieved both broad theoretical and experimental support. Yet if interactive dualism is correct, it is thought that the mind can affect physical objects in violation of the conservation of energy. Thus, some claim, the conservation of energy grounds an argument for physicalism. Although critics of the argument focus on the implausibility of causation requiring the transference of energy, I argue that even if causation requires the transference of energy, once we accept the other required premises of the argument that lie behind any supposed argument from the conservation of energy the law of the conservation of energy is revealed as irrelevant to the question of whether the mental is physical

Proprioception - the sense by which we come to know the positions and movements of our bodies - is thought to be necessarily confined to the body of the perceiver. That is, it is thought that while proprioception can inform you as to whether your left knee is bent or straight, it cannot inform you as to whether someone else's knee is bent or straight. But while proprioception certainly provides us with information about the positions and movements of our own bodies, I will argue that it does more than that. Surprising as this may sound, one can proprioceive someone else's movement. To show this, I first present the results of some studies that suggest that in seeing others move, we kinesthetically represent their movement in our bodies. I then argue, by means of an analogy to prosthetic vision, that such 'kinesthetic vision' should count as proprioceiving others move

Proprioception has been considered, within neuroscience, in the context of the control of movement. Here we discuss a possible second role for this 'sixth sense', pleasure in and of movement,homologous with the recently described affective touch. We speculate on its evolution and place in human society and suggest that pleasure in movement may depend not on feedback but also on harmony between intention and action. Examples come from expert movers, dancers and sportsmen, and from those without proprioception due to neurological impairment. Finally we suggest that affective proprioception may help bind our sense of agency with our embodied selves at an emotional level.