Bruce Mangan

This study explores the interface between conscious and nonconscious mental processes using phenomenological analysis, information processing cognitive psychology, connectionism and traditional aesthetic theories. It attempts to explain how global, evaluative information--especially the primitive feeling of 'rightness' or 'making sense'--is represented in consciousness. ;Many lines of evidence confirm and extend William James' nucleus/fringe model of consciousness: surrounding clear experience in focal attention is a fringe of vague experience. Context information in general, and the feeling of rightness in particular, occupy the fringe. The fringe is vague because it works to finesse consciousness' limited capacity to articulate experience, and the fringe is elusive or 'ungraspable' because it helps to call new information into consciousness. The phenomenology of the fringe is thus a consequence of its cognitive functions. ;Meaningfulness is proposed to be a summary index of cognitive integration, signalling consciousness about the degree of global compatibility or 'fit' between a given content in the focus of attention and its nonconscious context. Though very similar to goodness-of-fit in a connectionist network, Meaningfulness is proposed to play an active feedback role in cognition, while goodness-of-fit, as currently used, is a passive measure of network integration. ;This analysis predicts that an intense feeling of Meaningfulness will have a characteristic 'profile,' and this profile is evident in many accounts of aesthetic experience: a feeling of unity and coherence that cannot be captured adequately in words, but which nevertheless seems to be a source of profound, and often "spiritual," knowledge. ;Many philosophical theories try to explain the unistic, ineffable, noetic, and transcendent aspects of the aesthetic. Platonic and Aristotelian traditions are considered, but the primary focus is on Kant. The Critique of Judgment created modern aesthetics, and in many ways it is remarkably compatible with current cognitive analysis. ;Beyond clarifying the cognitive foundation of aesthetic experience, this study offers new arguments against epiphenomenalism, provides further reason to doubt rule-based accounts of nonconscious processing, explains the isomorphism in aesthetic and mystical phenomenology, and develops a method to investigate consciousness called convergent phenomenology.

Evidence and theory ranging from traditional philosophy to contemporary cognitive research support the hypothesis that consciousness has a two-part structure: a focused region of articulated experience surrounded by a field of relatively unarticulated, vague experience.William James developed an especially useful phenomenological analysis of this "fringe" of consciousness, but its relation to, and potential value for, the study of cognition has not been explored. I propose strengthening James′ work on the fringe with a functional analysis: fringe experiences work to radically condense context information in consciousness; are vague because a more explicit representation of context information would overwhelm consciousness′ limited articulation capacity; help mediate retrieval functions in consciousness; and contain a subset of monitoring and control experiences that cannot be elaborated in focal attention and are "ineffable." In general, the phenomenology of the fringe is a consequence of its cognitive functions, constrained by consciousness′ limited articulation capacity. Crucial to monitoring and control is the feeling of "rightness." Rightness functions as a summary index of cognitive integration, representing, in the fringe, the degree of positive fit between a given conscious content and its parallel, unconsciously encoded context. Rightness appears analogous to the connectionist metric of global network integration, known variously as goodness-of-fit, harmony, or minimum energy

Little is gained, and much lost, by casting an empirical theory of consciousness in a "functionalist" philosophical mold. Consciousness Explained is an instructive failure. It resurrects various behaviorist dogmas; it denies consciousness any distinct cognitive ontology; it obliquely adopts many long-standing research positions relating parallel and sequential processing to consciousness, yet denies the core assumption which produced this research; it takes parallel processing to be incompatible with educated common-sense views of consciousness , while in fact parallel processing is compatible with some Cartesian Theater views. Contrary to Dennett, the Cartesian Theater does not necessarily imply that contents must fully "arrive" in consciousness at a single, specifiable instant; criticism of the Cartesian Theater based on this attribution is thus without force. And if consciousness is a distinct information-bearing medium, functionalist attempts to "explain" consciousness are inherently inadequate

Rightness, not familiarity, is the feeling of knowing. Rightness and familiarity are distinct at both the functional and phenomenological levels of analysis. In problem solving, for example, an unfamiliar solution can still feel right. Rightness is the fringe experience permeating all cases of felt meaning in consciousness, and can occur even when the retrieval of specific content is for whatever reason blocked (e.g., in a tip of the tongue experience). For the most extensive published treatment of rightness and fringe experience, see Mangan (2003): "The conscious 'fringe': Bringing William James up to date" in Essential Sources in the Scientific Study of Consciousness, MIT press.

Non-sensory experiences represent almost all context information in consciousness. They condition most aspects of conscious cognition including voluntary retrieval, perception, monitoring, problem solving, emotion, evaluation, meaning recognition. Many peculiar aspects of non-sensory qualia (e.g., they resist being 'grasped' by an act of attention) are explained as adaptations shaped by the cognitive functions they serve. The most important nonsensory experience is coherence or "rightness." Rightness represents degrees of context fit among contents in consciousness, and between conscious and non-conscious processes. Rightness (not familiarity) is the feeling-of-knowing in implicit cognition. The experience of rightness suggests that neural mechanisms "compute" signals indicating the global dynamics of network integration

My overall aim here is to intersect two issues central to Max Velmans' wide-ranging paper. The first concerns one of the most vexing problems in consciousness research — how best to approach the terms 'mental' and 'physical'. The second looks at the phenomenology of volition, and the degree to which information presumably necessary for making voluntary conscious decisions is, or is not, present in consciousness. Velmans offers three general reasons to motivate his position: the physical world is 'causally closed' to the influence of consciousness; consciousness does not contain the information necessary for making volitional decisions; conscious feelings of volition occur before the acts they supposedly cause. It seems to me that none of this holds up well under scrutiny. I will concentrate on the first two reasons, since I think they involve more basic and widespread aspects of consciousness research

So the central question here is phenomenological: What is the nature of the aesthetic zap? For it is this experience, or its promise, which gives art such a deep hold on human life. But the issue of representation, while secondary, is still pregnant with cognitive implications: Why is representation, of all the devices available to an artist, more likely to shift the odds in favour of eliciting and/or intensifying aesthetic experience? Assuming a Darwinian view of our species, it is likely that the answer to both questions will come from understanding how our capacity to enjoy art grows out of normal cognition.

This paper investigates how global coherence is represented in consciousness. It summarizes various lines of research that I have developed over the last twenty years, employing a method that intersects phenomenological with bio-functional analysis. The phenomenological analysis derives from William James's treatment of the fringe, especially a component feeling he called 'right direction'and I call 'rightness'. My bio-functional analysis centres on the limitations of consciousness, and the design strategies that have evolved to finesse these limitations. I argue that fringe phenomenology, in general, has been shaped by its cognitive functions. The function of rightness, in particular, is to represent degrees of fit between a conscious content and the vast body of relevant non-conscious context information. Rightness, then, signals degrees of global positive evaluation. Phenomenologically, rightness is the common element in our feeling that something is a coherent whole: that it is meaningful, correct, fits together, makes sense. It is at the heart of the Aha! experience and, when intense, aesthetic and mystical experience. This analysis also provides a new argument for the efficacy of conscious volition, and a general view of consciousness as a biological information bearing medium