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In the Theater of Consciousness: The Workspace of the Mind
The study of conscious experience has seen remarkable strides in the last ten years, reflecting important technological breakthroughs and the enormous efforts of researchers in disciplines as varied as neuroscience, cognitive science, and philosophy. Although still embroiled in debate, scientists are now beginning to find common ground in their understanding of consciousness, which may pave the way for a unified explanation of how and why we experience and understand the world around us. Written by eminent psychologist Bernard J. Baars, In the Theater of The Workspace of the Mind brings us to the frontlines of this exciting discipline, offering the general reader a fascinating overview of how top scientists currently understand the processes underlying conscious experience.
Combining psychology with brain science, Baars brilliantly brings his subject to life with a metaphor that has been used to understand consciousness since the time of Aristotle--the mind as theater. Here consciousness is seen as a "stage" on which our sensations, perceptions, thoughts, and feelings play to a vast, silent audience (the immensely complicated inner-workings of the brain's unconscious processes). Behind the scenes, silent context operators shape conscious experience; they include implicit expectations, self systems, and scene setters. Using this framework, Baars presents compelling evidence that human consciousness rides on top of biologically ancient mechanisms. In humans it manifests itself in inner speech, imagery, perception, and voluntary control of thought and action. Topics like hypnosis, absorbed states of mind, adaptation to trauma, and the human propensity to project expectations on uncertainty, all fit into the expanded theater metaphor.
As Baars explores our present understanding of the mind, he takes us to the top laboratories around the world, where we witness some of the field's most exciting breakthroughs and discoveries. (For instance, Baars recounts one extraordinary sequence of experiments, in which state-of-the-art PET scans--reproduced here in full color--capture in fascinating, graphic detail how brain activity changes as people learn how to play the computer game Tetris.) And throughout the book, Baars has sprinkled numerous and often highly amusing on-the-spot demonstrations that illuminate the ideas under discussion.
Understanding consciousness is perhaps the most difficult puzzle facing the sciences today. In the Theater of Consciousness offers an invaluable introduction to the field, brilliantly weaving together the various theories that have emerged as scientists continue their quest to uncover the profound mysteries of the mind--and of human nature itself.
Combining psychology with brain science, Baars brilliantly brings his subject to life with a metaphor that has been used to understand consciousness since the time of Aristotle--the mind as theater. Here consciousness is seen as a "stage" on which our sensations, perceptions, thoughts, and feelings play to a vast, silent audience (the immensely complicated inner-workings of the brain's unconscious processes). Behind the scenes, silent context operators shape conscious experience; they include implicit expectations, self systems, and scene setters. Using this framework, Baars presents compelling evidence that human consciousness rides on top of biologically ancient mechanisms. In humans it manifests itself in inner speech, imagery, perception, and voluntary control of thought and action. Topics like hypnosis, absorbed states of mind, adaptation to trauma, and the human propensity to project expectations on uncertainty, all fit into the expanded theater metaphor.
As Baars explores our present understanding of the mind, he takes us to the top laboratories around the world, where we witness some of the field's most exciting breakthroughs and discoveries. (For instance, Baars recounts one extraordinary sequence of experiments, in which state-of-the-art PET scans--reproduced here in full color--capture in fascinating, graphic detail how brain activity changes as people learn how to play the computer game Tetris.) And throughout the book, Baars has sprinkled numerous and often highly amusing on-the-spot demonstrations that illuminate the ideas under discussion.
Understanding consciousness is perhaps the most difficult puzzle facing the sciences today. In the Theater of Consciousness offers an invaluable introduction to the field, brilliantly weaving together the various theories that have emerged as scientists continue their quest to uncover the profound mysteries of the mind--and of human nature itself.
210 pages, Hardcover
First published January 1, 1997
7 people are currently reading
237 people want to read
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Displaying 1 - 8 of 8 reviews
August 31, 2016
With an equal measure of curiosity and wariness, I picked up this book from the local library sales. I knew nothing about the author, but I liked his mentioning of William James in his Preface. Neuropsychology books for general audience tends to have over-quote Freud and over-use fMRI, and a happy bullet-lists of self-helps. Fortunately this book does neither; instead, it gives the saner mixture of William James and properly quoted scientific evidences.
The overarching theme is the metaphor of “theater” for consciousness. Instead of a localized, or linear sequential explanation of how we perceive, think, feel and decide, the author gives us a vivid image of theatric production in an amphitheater — the director (Self), the audience (the unconscious: memory, motivation, automatic systems), the players (outer and inner senses, ideas), and the cleverest metaphor of “spotlight” for attention. With this theater metaphor, we can see how one can learn skills through conscious learning to sink practice into “skill memory”; we can see how attention is critical in solidity the chain of consciousness-unconsciousness process. One particular note is about the example William James gave about “getting out of bed in a cold morning” illustrated the Will, the volition played in bridging conscious logic to action.
Another interesting note is about the state of “absorption” versus “metacognition”. I have been fascinated by Positive Psychology’s “Flow” in achieving states of joy and wellbeing. However, the author pointed out, a full absorption is directly related to the suspension of “meta-cognition”, the higher observing consciousness in whispering “what I am doing? is this the right thing to do?” Popular psychology has been focusing on detaching ourselves by being absorbed in work, would that come with a price of higher consciousness? It is dangerous to ask too many questions. No wonder the democratic Athenians had voted and condemned the questioning Socrates for being such a gadfly.
This book is well-written and well-researched, with a sophisticated understanding of how philosophy (such as those by William James) and science may offer insight to our consciousness. It is not a reductive, medico-materialistic writing, but from someone who is evidently an admire of William James instead B.F. Skinner.
The overarching theme is the metaphor of “theater” for consciousness. Instead of a localized, or linear sequential explanation of how we perceive, think, feel and decide, the author gives us a vivid image of theatric production in an amphitheater — the director (Self), the audience (the unconscious: memory, motivation, automatic systems), the players (outer and inner senses, ideas), and the cleverest metaphor of “spotlight” for attention. With this theater metaphor, we can see how one can learn skills through conscious learning to sink practice into “skill memory”; we can see how attention is critical in solidity the chain of consciousness-unconsciousness process. One particular note is about the example William James gave about “getting out of bed in a cold morning” illustrated the Will, the volition played in bridging conscious logic to action.
Another interesting note is about the state of “absorption” versus “metacognition”. I have been fascinated by Positive Psychology’s “Flow” in achieving states of joy and wellbeing. However, the author pointed out, a full absorption is directly related to the suspension of “meta-cognition”, the higher observing consciousness in whispering “what I am doing? is this the right thing to do?” Popular psychology has been focusing on detaching ourselves by being absorbed in work, would that come with a price of higher consciousness? It is dangerous to ask too many questions. No wonder the democratic Athenians had voted and condemned the questioning Socrates for being such a gadfly.
This book is well-written and well-researched, with a sophisticated understanding of how philosophy (such as those by William James) and science may offer insight to our consciousness. It is not a reductive, medico-materialistic writing, but from someone who is evidently an admire of William James instead B.F. Skinner.
June 8, 2019
Every man and his dog these days, in cognitive science, wants to 'revolutionise' thinking on the topic, or invent a new paradigm (that will bear their name). That's what I braced myself for with Baars book. He is one of the proponents for the 'Global Workspace Theory' of consciousness, that was in favour in the early 2000s, but seems to have been supplanted by more recent ideas.
Instead though, I found a delightful book, easy to read, and well laid out. Baars is not pushing his own interpretation strongly, but instead takes us on a journey through some key features of cognitive science, with the invitation to interpret for oneself, if the 'theatre' idea makes sense.
You don't need to be an expert, and you won't find jargon filled interpretative theories here. If you are well read on the topic, then some of the research is repeated in other key texts of the day. But that's ok. If you're new to the topic, you will not have any difficulty following the narrative.
Instead though, I found a delightful book, easy to read, and well laid out. Baars is not pushing his own interpretation strongly, but instead takes us on a journey through some key features of cognitive science, with the invitation to interpret for oneself, if the 'theatre' idea makes sense.
You don't need to be an expert, and you won't find jargon filled interpretative theories here. If you are well read on the topic, then some of the research is repeated in other key texts of the day. But that's ok. If you're new to the topic, you will not have any difficulty following the narrative.
December 15, 2019
I just finished this intriguing account of how brains work to create our consciousness. This book is not light reading by any means, however reading it will forever change how you view the God given gift of our brains, nervous system and thought itself. Just reflecting on how we are the only species capable of think about how we think reminds me once again of the genius of Our Heavenly Creator.
August 22, 2024
A NEUROSCIENTIST EXPLAINS HIS "THEATER METAPHOR" FOR CONSCIOUSNESS
Bernard J. Baars (born 1946) is a Fellow at The Neurosciences Institute in La Jolla, CA; he has written other books such as 'Cognition, Brain, and Consciousness,' 'The Cognitive Revolution In Psychology,' 'Essential Sources in the Scientific Study of Consciousness,' etc.
He wrote in the Preface to this 1997 book, "serious brain and psychological scientists are exploring conscious experience... with far better evidence and theory than ever before... As a cognitive neuroscientist with almost two decades of experience grappling with these questions, I thought it was high time to tell the story of some of the best scientific work available today. This book is the result." (Pg. vii-viii)
He begins the book by observing, "At this instant you and I are conscious of some aspects of the act of reading---the shape of THESE LETTERS against the white texture of the page, and the inner sound of 'these words.' But we are probably not aware of the touch of the chair... a flow of conversation in the background... nor are we now aware of the fleeting present of only a few seconds ago... These unconscious elements are as important as the conscious ones because they give us natural comparison conditions... Whenever a question about the meaning of consciousness arises in these pages, I invite you to revisit the paragraphs above. The meaning of 'consciousness' intended here is best illustrated by your own experience... All the subjective demonstrations used in this book can be tested objectively, and all the objective facts can be experienced by you and me. That is why we believe we can talk about consciousness as such." (Pg. 3-4)
He admits early on, "Consciousness may not be a solvable problem. In physics the exact gravitational dance of three bodies in space is believed to be unsolvable. In biology, recapturing the precise genetic pressures that led to a given mutation millions of years ago is not possible. There are other questions that are not possible to answer, perhaps ever. Nature does not come with guarantees. The question remains, is consciousness something that can be known?" (Pg. 13) He states a major point, "the consciousness hypothesis is clearly testable... consciousness generally involves increased neural activity, compared to unconscious control conditions. We can then conclude tentatively that consciousness appears to be associated with increased brain activity, and look for more evidence..." (Pg. 19-20)
He summarizes his "Theater Model": "All unified theories of cognition today involve theater metaphors. In this version, conscious contents are limited to a brightly lit spot of attention onstage, while the rest of the stage corresponds to immediate working memory. Behind the scenes are executive processes, including a director... In the audience are a vast array of intelligent unconscious mechanisms. Some audience members are automatic routines... Others involve autobiographical memory, semantic networks representing our knowledge of the world... Elements of working memory---on stage, but not in the spotlight of attention---are also unconscious... By far the most detailed functions are carried on outside of awareness." (Pg. 43) He adds, "We have feelings of knowing about items in working memory that are not currently conscious. Moreover, we seem to have feelings of knowing about things that are readily AVAILABLE to consciousness, though they are not conscious at the moment..." (Pg. 45)
He proposes, "The idea that consciousness is a gateway, something that creates access to a vast unconscious mind, has interesting implications for our understanding of learning. It suggests that the real work of learning is simply to point one's consciousness to some information to be learned, allowing the detailed processes of learning to take place unconsciously." (Pg. 60)
This book is a fascinating, intellectually-stimulating journey, and is "must reading" for anyone seriously studying cognitive neuroscience or the philosophy of mind.
Bernard J. Baars (born 1946) is a Fellow at The Neurosciences Institute in La Jolla, CA; he has written other books such as 'Cognition, Brain, and Consciousness,' 'The Cognitive Revolution In Psychology,' 'Essential Sources in the Scientific Study of Consciousness,' etc.
He wrote in the Preface to this 1997 book, "serious brain and psychological scientists are exploring conscious experience... with far better evidence and theory than ever before... As a cognitive neuroscientist with almost two decades of experience grappling with these questions, I thought it was high time to tell the story of some of the best scientific work available today. This book is the result." (Pg. vii-viii)
He begins the book by observing, "At this instant you and I are conscious of some aspects of the act of reading---the shape of THESE LETTERS against the white texture of the page, and the inner sound of 'these words.' But we are probably not aware of the touch of the chair... a flow of conversation in the background... nor are we now aware of the fleeting present of only a few seconds ago... These unconscious elements are as important as the conscious ones because they give us natural comparison conditions... Whenever a question about the meaning of consciousness arises in these pages, I invite you to revisit the paragraphs above. The meaning of 'consciousness' intended here is best illustrated by your own experience... All the subjective demonstrations used in this book can be tested objectively, and all the objective facts can be experienced by you and me. That is why we believe we can talk about consciousness as such." (Pg. 3-4)
He admits early on, "Consciousness may not be a solvable problem. In physics the exact gravitational dance of three bodies in space is believed to be unsolvable. In biology, recapturing the precise genetic pressures that led to a given mutation millions of years ago is not possible. There are other questions that are not possible to answer, perhaps ever. Nature does not come with guarantees. The question remains, is consciousness something that can be known?" (Pg. 13) He states a major point, "the consciousness hypothesis is clearly testable... consciousness generally involves increased neural activity, compared to unconscious control conditions. We can then conclude tentatively that consciousness appears to be associated with increased brain activity, and look for more evidence..." (Pg. 19-20)
He summarizes his "Theater Model": "All unified theories of cognition today involve theater metaphors. In this version, conscious contents are limited to a brightly lit spot of attention onstage, while the rest of the stage corresponds to immediate working memory. Behind the scenes are executive processes, including a director... In the audience are a vast array of intelligent unconscious mechanisms. Some audience members are automatic routines... Others involve autobiographical memory, semantic networks representing our knowledge of the world... Elements of working memory---on stage, but not in the spotlight of attention---are also unconscious... By far the most detailed functions are carried on outside of awareness." (Pg. 43) He adds, "We have feelings of knowing about items in working memory that are not currently conscious. Moreover, we seem to have feelings of knowing about things that are readily AVAILABLE to consciousness, though they are not conscious at the moment..." (Pg. 45)
He proposes, "The idea that consciousness is a gateway, something that creates access to a vast unconscious mind, has interesting implications for our understanding of learning. It suggests that the real work of learning is simply to point one's consciousness to some information to be learned, allowing the detailed processes of learning to take place unconsciously." (Pg. 60)
This book is a fascinating, intellectually-stimulating journey, and is "must reading" for anyone seriously studying cognitive neuroscience or the philosophy of mind.
September 13, 2016
Excellent overview of the science of consciousness from a psychological perspective. Apparently, there IS a theater of the mind, Daniel Dennett! Although that's just a metaphor, consciousness appears to work like a stage, featuring the integrated, perceptual "end products" from dozens of unconscious operations & processes; one of the most compelling of these is our sense of self--the protagonist in our personal narrative.
June 4, 2007
A good introduction to the psychological nature of consciousness.
November 21, 2016
Short and sweet.
July 31, 2016
Unacknowledged assumptions and a dearth of citations don't prevent this from being an excellent introduction to one of the leading scientific theories behind the study of consciousness.
Displaying 1 - 8 of 8 reviews