Can we make progress exploring consciousness? Or is it forever beyond human reach? In science we never know the ultimate outcome of the journey. We can only take whatever steps our current knowledge affords. This paper explores today's evidence from the viewpoint of Global Workspace theory. First, we ask what kind of evidence has the most direct bearing on the question. The answer given here is ‘contrastive analysis’ -- a set of paired comparisons between similar conscious and unconscious processes. This (...) body of evidence is already quite large, and constrains any possible theory . Because it involves both conscious and unconscious events, it deals directly with our own subjective experience, as anyone can tell by trying the demonstrations in this article. (shrink)

Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from Southern (...) and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the "other" in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well."--Jacket. (shrink)

While restating the correct interpretation of the prologue to the Hecyra of Terence in CQ 32 , 134 F. H. Sandbach has this to say: ‘Possibly the widespread view which the translators and I reject has been encouraged by disbelief that the theatre could be used for gladiatorial combat. It is true that there is no reliable evidence for such use at Rome, for Donatus' statement “hoc abhorret a nostra consuetudine uerumtamen apud antiquos gladiatores in theatro spectabantur” may be no (...) more than inference from Terence's text.’ There is, in fact, a certain amount of evidence for gladiatorial combats in the theatres at Rome, that is at venues where ludi scaenici were performed, which it is difficult to regard as unreliable and which is consistent with what we know of the relationship between the theatre and gladiatorial games. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama in Aesthetic Education:An Invitation to Imagine the World as if It Could Be OtherwiseFlorence Samson (bio)Maxine Greene, philosopher-in-residence for the Lincoln Center Institute (LCI), suggests that through aesthetic education "new connections are made in experience: new patterns are formed, new vistas are opened. Persons see differently, resonate differently." As Rilke wrote in one of his poems, and as quoted by Greene, "they are enabled to pay heed when (...) a work of art tells them, 'You must change your life.'"1 Greene interprets Rilke's words to mean that "a work [of art], when fully perceived and carefully attended to, makes a demand upon beholders—a demand that they change, look with new eyes, hear with new ears, become something they have not been before."2 Greene believes that "the perceiving, the noticing [about which Rilke spoke] are enhanced," for in the process of "[o]pening ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity."3This life change, to which Rilke refers, occurs as we take into our own being the experiences of others and realize that not everyone sees the world as we do. As we look critically at ourselves and our complicity in situations that position people as "other," we are moved to imagine that the world could be otherwise.Curriculum, Change, and Aesthetic EducationAesthetic education, an inquiry-driven engagement with a work of art, can be a catalyst to bringing about change. The aesthetic education experience consists of a number of components. LCI agrees upon a repertoire of "works of art" deemed likely to fulfill the requirements of engagement and inquiry. These may include, but are not limited to, music, drama, and opera performances, and mask, photo, and art exhibits. For each work of art, the LCI [End Page 70] researchers and other staff prepare a resource binder, entitled Windows on the Work. The teacher educator has several meetings with the teaching artist assigned to that work to develop the questions that will power the inquiry process, determine the structure and activities of the pre- and sometimes post-performance classes, and guide the students in their engagement with the work of art.I have included an aesthetic education experience program each term in my graduate and undergraduate elementary and early childhood education courses. My course outlines describe this component and the related student assignments. For the fall 2004 course, I chose Ping Chong's Secret History: Journeys Abroad, Journeys Within.4 This drama documentary, written and directed by Ping Chong and Leyla Mordirzadeh in collaboration with Sara Zatz, was directly related to one of my course goals—teaching for equity and social justice. This involves providing teachers with opportunities to "engage in productive dialogues about both inequities and possibilities for social reconstruction in the communities within which they and their students are developing."5Ping Chong & Company was founded thirty years ago "to create innovative works of theatre and art that explore the intersection of race, history, culture, and technology in the modern world."6Ping Chong, Insider/Outsider, and His Approach to TheatreCanadian-born and New York-reared Chong—theatre director, choreographer, and video and installation artist—is "fascinated and disturbed by the position of the outsider, the person made to feel 'other' in a society" and "probe[s] the drama of those pushed from one culture to another."7 He has done extensive research on both immigrants and refugees and recognizes that there is a psychological difference in the trauma experienced by members of both groups in the transition from one culture to the other.Chong's unique "talk, reveal, and seek to understand" approach to theatre "moves us toward unification, toward diminishing the barriers between peoples, and thus toward embracing all that is good in civilization."8 His work is grounded in his experience of sharing a common ethnicity and language with his community in Chinatown and occupying the position of "other" as the only Chinese student in his high school. Because of his experience of being "other," Chong has "a real kind of empathy and connection" with his projects.9 He considers... (shrink)

My general topic is whether limitations in olfaction’s conceptual and generally mental capabilities hinder its suitability for playing significant and sophisticated roles in theatrical productions of the standard narrative type. This is a big question and I only scratch the surface here. I begin with a brief look at smell’s most prominent roles in the theatre, as illustration and to evoke mood and atmosphere. Next, I consider the relation between smell and the experience of space, looking first at a kind (...) of power it has that is sometimes overlooked. Third, I examine a conundrum about what the objects we smell, as opposed to the objects we see, do and do not represent in a theatrical performance. Finally, the conundrum leads into a deeper discussion of whether scents or the objects we smell do the representing in theatre. (shrink)

ernard Baars’ metaphor of the theatre of consciousness has the ability to powerfully evoke and illustrate in a single image many of the functions of the mind and the brain, both conscious and unconscious. The simplicity and sheer appeal of the image of the stage, with conscious events acted out upon it by players moving under the spotlight of attention, makes it easy to visualize, to remember, and to think about. Thus, it is richly evocative, inviting further speculation as to (...) how the elements in front, behind, and on the stage, interact to yield the conscious experiences of daily life. I suspect that the ease and power of this metaphor will go a long way toward making the study of consciousness in psychology not only academically legitimate -- a battle we have just about won -- but something other than mush in the minds of most academic psychologists. I believe that this metaphor will play the role for the cognitive psychology of consciousness that the Atkinson-Shiffrin stage model of memory played for the cognitive psychology of memory some decades back . Like that model, it summarizes most current findings and organizes them in a fashion easily understood by a wide readership. My guess is that it will stimulate a broad range of research and scholarship during the coming years. (shrink)

My endeavor in this paper is to examine the ways in which exactly the general structure of perception is modified in the case of the reception of theatre performances. First, perception in general is examined and it is argued that a basic characteristic of perception is that it is sometimes interdependent with action. After the analysis of perception in general, I turn to the special case of the perception of a theatre performance (or, theatre-perception, for short) and examine the role (...) of the perception of the possibility of action in the case of watching a performance. I try to point out that theatre-perception cannot be sufficiently analyzed without taking into consideration the action-oriented character of perception. If we perceive a gun on stage we perceive it as the possibility of an action, that is, as affording certain actions. (shrink)

This volume sets out to re-imagine the theoretical and epistemological presuppositions of existing scholarship on identities. Despite a well-established body of scholarly texts that examine the concept from a wide range of perspectives, there is a surprising dearth of work on multiple, heterogeneous forms of identity. Numerous studies of ethnic, linguistic, regional and religious identities have appeared, but largely in isolation from one another. Rethinking 'Identities' is a multi-authored project that is original in providing - in distributed and granular mode (...) - a hyper-contemporary and wide-ranging applied analysis that questions notions of identity based on nation and region, language, ethnicity, gender, sexuality, religion or even 'the human'. The volume achieves this by mobilizing various contexts of identity (gender, ethnicity, sexuality, nation) and medium (art, cinema, literature, music, theatre, video). Emphasizing the extreme contemporary (the twenty-first century) and the challenges posed by an increasingly global society, this collection of essays builds upon existing intellectual investigations of identity with the aim of offering a fresh perspective that transcends cognitive and geographical frontiers. (shrink)

This article is an evocatively written account of Bernard Baars’ latest ideas about the Global Workspace approach to consciousness, one he pioneered in his important book on the topic in 1988. He writes fluently and brings strong images to mind, especially with the metaphor of the ‘Working Theatre’. As with everything he writes, I enjoyed reading it. It is strong and heady stuff. When I finished I sat back and attempted to assess the claim that the best answer today with (...) which to understand the present evidence about consciousness is a ‘global workspace architecture’, especially along the lines of the Global Workspace of Baars. (shrink)

One of the central puzzles for Baars is the contrast between the small window of consciousness of which we all have direct experience and the massive collection of specialized neural nets, all working in parallel in the depths of our brain. Why is this window so small? Can we use the metaphor of a theatre, in which we regard consciousness as merely acting like a spotlight moving over an already existing structure of thoughts, memories and experiences, or does it involve (...) something more active with thoughts being created anew from moment to moment? (shrink)

Druzhinin’s insistence that the behaviour portrayed in fictional films can be considered a “reliable source of evidence for […] experiential analysis” of the cognitive use of ….

Anonymous, Vita Aeschyli 9 preserves the following startling report concerning Aeschylus:Some say that at the performance of the Eumenides, by bringing on the chorus one by one, as he did, he terrified the audience so that children swooned and fetuses were aborted.

Healthcare practitioners are often presented with vulnerable encounters where their professional experience is insufficient when dealing with patients who suffer from illnesses such as chronic pain. How can one otherwise understand chronic pain and develop practices whereby medical healthcare practitioners can experience alternative ways of doing their practice? This essay describes how a group of researchers have, over a number of years, developed improvised participatory theatre as a means of engaging healthcare practitioners, patients and other lay people in situations where (...) it is legitimate to reappraise their practice and reunderstand the nature of an illness such as chronic pain. One conclusion was to consider that it is a relational rather than an individual phenomenon that in turn demands alternative practice. Through iterative workshop processes of improvised theatre, participants are encouraged to experience the vulnerable, the unknown, and the need to be alternatively present when dealing with patients whose situation is imbued with suffering. (shrink)

Throughout his cinema studies, Deleuze tends to define and to praise the cinematic in opposition to the theatrical. Cinema, for Deleuze, retains the potential to automate our perception of its images. Further, this capacity allows the cinema to profoundly disrupt the habitual patterns of its audience's thought. This article asks, however, whether Beckett's theatrical practice can be productively analysed through concepts derived from Deleuze's work on the cinema. In Beckett's Play and Not I, we see theatrical productions that strive for (...) and attain an automation of their audience's perception. While this theatrical experience is not identical to the ‘camera-consciousness’ that Deleuze observes in film, it can be understood through Deleuze's (Bergsonian) processes of habitual and attentive recognition, their failure and their subsequent transformation into passages of crystalline description. Finally, we can begin to elaborate the novel idea of a ‘crystal-theatre’; a theatre where the audience are entrapped within its construction, caught in a loop or circuit that runs between and complicates the realms of reality and illusion, immediately lived experience and artistic representation, the actual and the virtual. (shrink)

Anonymous, Vita Aeschyli 9 preserves the following startling report concerning Aeschylus: Some say that at the performance of the Eumenides, by bringing on the chorus one by one, as he did, he terrified the audience so that children swooned and fetuses were aborted.

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 Consciousness: 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. 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. 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. (shrink)

Issues of race have traditionally been addressed in medical school curricula in a didactic manner. However, medical school curricula often lack adequate opportunity for the application of learning material relating to race and culture. When confronted with acts of racism in clinical settings, students are left unprepared to respond appropriately and effectively. Forum Theatre offers a dynamic platform by which participants are empowered to actively engage with and become part of the performance. When used in an educational context, Forum Theatre (...) can be a powerful tool for students to interact with a wide variety of social issues. This paper describes the process by which one medical school designed a workshop in the Forum Theatre style to equip students to respond to racism observed in clinical settings. Based on real student experiences, the Responding to Racism in the Clinical Setting workshop was designed to give students an opportunity to combine cultural humility, communication theory and conflict resolution skills in order to prepare for interactions in clinical stages of medical education. As a result of workshop evaluations, surveys, and written reflections, the authors propose that Forum Theatre is a novel teaching modality for incorporating issues of race and culture into medical curriculum. (shrink)

KUŠNÍROVÁ, Eva : The Theatre of Particular Features. Theatre Ensemble Hviezdoslav Spišská Nová Ves. Prešov: Faculty of Arts, Prešov university of Prešov in Prešov. ISBN 978-80-555-1818-3. 305 p.

The oil-rich nation-states of the Arabian Peninsula are investing large sums in the development of an international sports industry for the region. In an effort to field its own national sports tea...

Written by eminent psychologist Bernard J. Baars, this book brings us to the frontlines of the consciousness debate, offering the general reader a fascinating overview of how top scientists currently understand the processes underlying conscious experience. 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. Scientists are just 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. This book 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. (shrink)

This paper explores the power of theatre to engage the public and my personal journey using theatre as a research tool in reproductive science. I argue that the capacity of theatre to simultaneously engage the minds and hearts of audience members qua research participants affords audience members the capacity to provide researchers with insightful comments informed by the scientific, social and tacit knowledge derived from the performance, integrated with their lived experience. Theatre is a particularly important research strategy when investigating (...) public understandings and desires about complex issues such as those related to reproductive and genetic science. (shrink)

It is the thesis of the paper that the arts of the twentieth century have gone much further in the criticism of customary modes of thought than have both the sciences and the various critical philosophies which exist today. Moreover, they have not only developed an abstract principle of criticism, they have also studied the psychological conditions under which criticism can be expected to become effective. Some plays and the theoretical essays of Ionesco are analysed as an example. It is (...) pointed out that Ionesco resembles Bacon in that he believes in an unchangeable basis of humanity from which all ideologies proceed. An attempt is made to free Ionesco from these dogmatic elements, theoretically, as well as practically (i.e. as regards the performance of his plays) and to utilize to the full his contributions to a theatre that is free of prejudice, and fully critical. (shrink)

Lucretius' primary didactic aim in De Rerum Natura is to teach his readers to interpret the world around them in such a way as to avoid the formation of false beliefs. The price of failure is extremely high. Someone who possesses false beliefs is liable to experience fear, and so will not be able to attain the state of tranquillity that, for Epicureans, constitutes the moral end. Equipping readers with sufficient knowledge always to form true beliefs about the phenomena they (...) encounter thus serves no less a purpose than the enabling of their future happiness. This paper is concerned with how Lucretian intertextuality contributes to this primary didactic aim. For reasons to be explained below, I will focus on Lucretian engagement with the texts of Greek and Roman drama. I will show that allusions to drama in DRN, rather than functioning simply as ‘honey on the rim of the cup’, make a direct contribution to Lucretius' ethical project, teaching readers how to respond rationally to the full variety of their cultural experience. (shrink)

This article has been translated into English by Nancy Luxon and published with permission. Michel Foucault, La littérature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud], in Folie, langage, littéature, eds. H.-P. Fruchaud, D. Lorenzini, & J. Revel, pp. 89–109 © Librairie philosophique J. Vrin, Paris, 2019. www.vrin.fr Requests for re-use of La littéature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud] should be directed to Librairie philosophique J. Vrin, Paris. (...) Literature and madness dominate Michel Foucault’s early writings in the 1960s, and indeed much of his career. In this text, Foucault considers the relation between madness, language, and silence; the difficult frontier between language and literary convention; and the experience of madness within language. He moves from a meditation on madness, to a rare commentary on theatre, stagecraft, and Artaud, and finishes by considering literature’s capacity for rupture. ‘Literature and Madness’ is a translation of a text written by Foucault in the 1960s, and recently published in Folie, langage, littérature, ed. Henri-Paul Fruchaud, Daniele Lorenzini and Judith Revel (Paris: Vrin, 2019, 89–109). This version includes a translator’s introduction by Nancy Luxon and was given a distinct subtitle to distinguish it from a similar lecture with the same title in that volume. (shrink)

BackgroundFor the patients receiving care in the operating room, it emphasizes that the ethical behavior and attitude of health professionals should be aligned with patients’ basic human rights. Surgical ethics may provide an ethical alternative in a specific operating room context. However, it is unclear how actively research is being conducted in this regard.AimThis study determines the direction of future research by identifying ethical issues experienced in the operating room.MethodThis scoping review is based on the methodological framework suggested by Arksey (...) and O’Malley in 2005. PubMed, CINAHL, EMBASE, WOS, Cochrane, KISS, and KMbase databases were searched from January 2012 to May 2022. Two researchers independently screened the searched articles by reviewing the titles, abstracts, and full texts. Consequently, 19 studies were selected.FindingsFive categories were identified: Professional ethics, Organizational ethics, Patients’ rights, Patient safety, and Allocating resources. The derived categories covered all the same content as the International Council of Nurses’ (ICN) code of ethics, with the exception of one element, that is, global health.ConclusionsThis study highlights ethical issues in the operating theatre and emphasizes the need for individual and organizational strategies aligned with the ICN code of ethics. Future research should cover a wider range of issues, employ diverse perspectives and methodologies, and enhance ethical practices to improve understanding and ethical practices in the field. (shrink)

The present essay discusses how women calypsonians in the English-speaking Caribbean use Calypso performances as a theatrical platform to offer a gendered critique of the nation and engage in a dialogue, which despite exhibiting pride in the nation, questions its various exclusions in ways that seek to redefine dominant constructions of the nation as ‘we’. Not only do they offer a vision of the nation and its cultural aspects that is more inclusive, they also speak out against cultural and political (...) oppression. I analyse specific performances by Singing Sandra (Trinidad) and Queen Ivena (Antigua) from my position as an ‘indigenous-outsider’ and ‘outsider within’ in order to demonstrate that Calypso performance is a post-colonial form of theatre in the English-speaking Caribbean that is being used by women as a site for feminist action and agency. (shrink)

The author recounts her experience as an Alzheimer's care-giver to her mother, stressing the value of her professional background in theater.