Recently, many philosophers and psychologists have claimed that the explanation that grounds both passivity phenomena in the cognitive domain and passivity phenomena that occur with respect to overt actions is, along broad lines, the same. Furthermore, they claim that the best account we have of such phenomena in both scenarios is the “comparator” account. However, there are reasons to doubt whether the comparator model can be exported from the realm of overt actions to the cognitive domain in general. There is (...) a lingering worry concerning such explanations of thought insertion: the "What is compared to what?" problem. Here I examine two ways to tackle this problem. First: thought insertion consists of the misattribution of strings of inner speech which are not attenuated (thought insertion is thus another name for auditory verbal hallucinations). Second: thought insertion is misattributed inner speech which exhibits the same phenomenological characteristics as normal inner speech. After explaining the types of problem that each of these potential solutions faces, I conclude with a set of open questions that the comparator theorist has to tackle. (shrink)

ABSTRACT I advance two claims about memory. The first is that memory itself is best conceived as consisting of scenes, which thus provide the raw material for the stories that we can tell about the past. The second is that these narratives can be revised in the light of new possibilities for redescription. In support of these claims, I examine the photographer Sally Mann's stunning 1992 series entitled “Immediate Family.” By appealing to Ian Hacking's account of how, in the latter (...) part of the twentieth century, multiple personality became “a culturally sanctioned way of expressing distress,” I argue that both the condemnation of Mann's work and the explosion in diagnoses of multiple personality were ultimately rooted in the then-popular belief that memories of childhood abuse determined adult character. (shrink)

Brian Eno's Ambient 1: Music for Airports is a seminal album in the history of electronic music. Using Deleuze and Guattari's notion of the assemblage, I explore the album's compositional structure as well as its ambient function, by attending to specific tracks and locating the album in musical history, particularly relative to the work of John Cage, La Monte Young, and Steve Reich. In an extended discussion of its ambient function, I argue that the LP offers music for reverie that (...) is capable of initiating processes of potential self-transformation. (shrink)

Many with schizophrenia find social interactions a profound and terrifying threat to their sense of self. To better understand this we draw upon dialogical models of the self that suggest that those with schizophrenia have difficulty sustaining dialogues among diverse aspects of self. Because interpersonal exchanges solicit and evoke movement among diverse aspects of self, many with schizophrenia may consequently find those exchanges overwhelming, resulting in despair, the sensation of fusion with another, and/or self-dissolution. In short, compromised dialogical capacities may (...) be a contributing factor to social dysfunction in schizophrenia. (shrink)