Nearly all listeners consider the subjective aspects of music, such as its emotional tone, to have primary importance. But contemporary philosophers often downplay, ignore, or even deny such aspects of experience. Moreover, traditional philosophies of music try to decontextualize it. Using music as an example, this paper explores the structure of qualitative experience, demonstrating that it is multi-layer emergent, non-compositional, enacted, and situation dependent, among other non-Cartesian properties. Our explanations draw on recent work in cognitive science, including blending, image schemas, (...) and sensory memory, as well as on phenomenology. A hierarchical structure transformation based complexity theory is applied to obtain a non-linear dynamical systems explanation of qualia and emotion that respects phenomenological insights about time, including retention and protention. The complexity measure provides both a metric structure and a potential function, on spaces of pieces that are constructed using given elements and transformations, with weights that reflect their cognitive difficulty. However, the approach is not reductionist; using improvisation and the evolution of musical notation as data, we argue that situatedness, especially enactment and social context, are key aspects of musical consciousness. (shrink)

This essay has three main goals: to introduce and somewhat contextualize the papers that follow; to bring out some implicit dialogues among them; and, in order to encourage further discussion in future issues of the Journal of Consciousness Studies, to introduce some new perspectives, including the historical development of Western art, cognitive linguistics, and the sacred. The remarks pertaining to the third goal are necessarily personal, and should not be confused with Journal of Consciousness Studies editorial policy, except insofar as (...) their goal is to promote debate across the gap that separates the sciences and the humanities -- the ‘two cultures'. This gap was perhaps first pointed out in the late 1950s by C.P. Snow, who was noted as both a novelist and scientist. (shrink)

Music raises many problems for those who would understand it more deeply. It is rooted in time, yet timeless. It is pure form, yet conveys emotion. It is written, but performed, interpreted, improvised, transcribed, recorded, sampled, remixed, revised, rebroadcast, reinterpreted, and more. Music can be studied by philosophers, psychologists, sociologists, mathematicians, biologists, computer scientists, neuro-scientists, critics, politicians, promoters, and of course musicians. Moreover, no single perspective seems either sufficient or invalid. This situation is not so different from that of other (...) arts, but perhaps more intense, due to the pervasiveness of pop, the inaccessability of much contemporary classical music, the strong cultural associations of many styles, the infusions of technology, and the combination with lyrics. (shrink)

What is art? What is beauty? How do they relate? Where does consciousness come in? What about truth? And can science help us with issues of this kind? Because such questions go to the very heart of current conflicts about Western value systems, they are unlikely to receive definitive answers. But they are still very much worth exploring -- which is precisely the purpose of this collection of papers, with particular attention to the relationships between art and science.