Kevin O'Regan

We have been observing how infants between 3 and 21 months react when a vibrotactile stimulation (a buzzer) is applied to different parts of their bodies. Responses included in particular movement of the stimulated body part and successful reaching for and removal of the buzzer. Overall, there is a pronounced developmental progression from general to specific movement patterns, especially in the first year. In this article we review the series of studies we conducted and then focus on possible mechanisms that might explain what we observed. One possible mechanism might rely on the brain extracting “sensorimotor contingencies” linking motor actions and resulting sensory consequences. This account posits that infants are driven by intrinsic motivation that guides exploratory motor activity, at first generating random motor babbling with self-touch occurring spontaneously. Later goal-oriented motor behavior occurs, with self-touch as a possible effective tool to induce informative contingencies. We connect this sensorimotor view with a second possible account that appeals to the neuroscientific concepts of cortical maps and coordinate transformations. In this second account, the improvement of reaching precision is mediated by refinement of neuronal maps in primary sensory and motor cortices—the homunculi—as well as in frontal and parietal corti- cal regions dedicated to sensorimotor processing. We complement this theoretical account with modeling on a humanoid robot with artificial skin where we implemented reaching for tactile stimuli as well as learning the “somatosensory homunculi”. We suggest that this account can be extended to reflect the driving role of sensorimotor contingencies in human development. In our conclusion we consider possible extensions of our current experiments which take account of predictions derived from both these kinds of models.

This paper starts by providing a succinct overview of the sensorimotor approach to phenomenal consciousness, describing its two parts: the part that concerns the quality of sensations, and the part that concerns whether or not such qualities are (consciously) experienced. The paper goes on to discuss the explanatory status of the approach, claiming that the approach does not simply “explain away” qualia, but that on the contrary, it provides a way of thinking about qualia that explains why they are the way they are, stimulates scientific paradigms and produces testable predictions. A final part of the paper examines the relation of the theory to radical enactivism, claiming that some kind of “higher order” cognitive mechanism similar to that used in Higher Order Thought theories of consciousness is needed to account for what is usually meant by being conscious of something.

Cortical plasticity is often invoked to explain changes in the quality or location of experience observed in rewired animals, in sensory substitution, in extension of the body through tool use, and in the rubber hand illusion. However this appeal to cortical plasticity may be misleading, because it suggest that the cortical areas that are plastic are themselves the loci of generation of experience. This would be an error, I claim, since cortical areas do not generate experience. Cortical areas participate in enabling the interaction of an agent with its environment, and the quality of this interaction constitutes the quality of experience. Thus it is not plasticity in itself, but the change in modes of interaction which plasticity allows, which gives rise to the change of experience observed in these studies.

Music is often described in anthropomorphic terms. This paper suggests that if we think about music in certain ways we could think of it as conscious. Motional characteristics give music the impression of being alive, but musical motion is conventionally taken as metaphorical. The first part of this paper argues that metaphor may not be the exclusive means of understanding musical motion – there could also be literal ways. Discussing kinds of consciousness, particularly “access consciousness” (Block 1995), the second part proposes ways in which music could (hypothetically) be conscious. The conclusion states that a greater understanding of the interactions of “phenomenal consciousness” and “access consciousness” is important in conceptualizing non-human consciousnesses, such as music might be conceived to be.