ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

How does the brain generate our experience of being in control over our actions and their effects? Here, we argue that the perception of events as self-caused emerges from a comparison between anticipated and actual action-effects: if the representation of an event that follows an action is activated before the action, the event is experienced as caused by one’s own action, whereas in the case of a mismatch it will be attributed to an external cause rather than to the self. (...) In a subliminal priming paradigm we show that participants overestimated how much control they had over objectively uncontrollable stimuli, which appeared after free- or forced-choice actions, when a masked prime activated a representation of the stimuli immediately before each action. This prime-induced control-illusion was independent from whether primes were consciously perceived. Results indicate that the conscious experience of control is modulated by unconscious anticipations of action-effects. (shrink)

Inspired by the 'reflexive monism' of Max Velmans, this paper considers four problems of mind and body. (1) The traditional mind–body problem, including the 'easy' problem of identifying the neural correlates of consciousness, and the 'hard' problem of determining just how neural processes generate conscious states. (2) The distinction between automatic (unconscious) and controlled (conscious) processes, raising the question about the relative roles they play in experience, thought, and action, as well as the question of free will. (3) Psychosomatic effects, (...) including the stress–disease connection, placebo effects, and hypnotic suggestion, in which beliefs appear to have consequences for bodily processes outside the nervous system. (4) Whether mind can exist in the absence of a bodily host, as exemplified by spiritualism and parapsychology. As challenging as the easy and hard problems are, psychology can advance as a science of mental life without ever solving them. (shrink)

Although culturally prominent modernist influences account for much of Skinner's early behaviorism, the subsequent changes in his views are appropriately considered as postmodern and are indebted to other sources. These changes are strikingly apparent in his 1945 publication. "The Operational Analysis of Psychological Terms." In that publication. Skinner introduced a probabilistic three-term contingency for verbal behavior with an expanded contextualism and an increased emphasis on consequence with a clear alignment to pragmatism. Instead of reaffirming the mechanistic and necessitarian values of (...) modernism that he had previously embraced, Skinner was aligning himself with the postmodern values of pragmatism and selectionism. (shrink)

I situate the controversial critical strategies of “distant reading” and “surface reading” in the reception history of Gertrude Stein, an author whose work was frequently declared “unreadable.” I argue that an early twentieth-century history of compromised forms of reading, including women’s reading and information work, subtends both the technology with which distant reading may be carried out and the ways in which an author’s work comes to be understood as a “corpus.”.