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Journal articles on the topic '«Cartesian theater»'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Glymour, Bruce, Rick Grush, Valerie Gray Hardcastle, et al. "The Cartesian Theater stance." Behavioral and Brain Sciences 15, no. 2 (1992): 209–10. http://dx.doi.org/10.1017/s0140525x0006831x.

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2

Dennett, Daniel C., and Marcel Kinsbourne. "Escape from the Cartesian Theater." Behavioral and Brain Sciences 15, no. 2 (1992): 234–47. http://dx.doi.org/10.1017/s0140525x00068527.

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3

Levine, Joseph. "PHENOMENAL EXPERIENCE: A CARTESIAN THEATER REVIVAL." Philosophical Issues 20, no. 1 (2010): 209–25. http://dx.doi.org/10.1111/j.1533-6077.2010.00188.x.

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4

Dennett, Daniel C. "Calling in the Cartesian loans." Behavioral and Brain Sciences 27, no. 5 (2004): 661. http://dx.doi.org/10.1017/s0140525x04240158.

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Wegner's tactic of describing the conscious mind as if it inhabited a Cartesian Theater in the brain is a stopgap solution that needs to be redeemed by paying off these loans of comprehension. Just how does Wegner propose to recast his points?

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Dennett, Daniel C., and Marcel Kinsbourne. "Time and the observer: The where and when of consciousness in the brain." Behavioral and Brain Sciences 15, no. 2 (1992): 183–201. http://dx.doi.org/10.1017/s0140525x00068229.

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AbstractWe compare the way two models of consciousness treat subjective timing. According to the standard “Cartesian Theater” model, there is a place in the brain where “it all comes together,” and the discriminations in all modalities are somehow put into registration and “presented” for subjective judgment. The timing of the events in this theater determines subjective order. According to the alternative “Multiple Drafts” model, discriminations are distributed in both space and time in the brain. These events do have temporal properties, but those properties do not determine subjective order

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6

Nash, Woods. "The Moviegoer's Cartesian Theater: Moviegoing as Walker Percy's Metaphor for the Cartesian Mind." Perspectives on Political Science 40, no. 3 (2011): 153–60. http://dx.doi.org/10.1080/10457097.2011.585938.

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7

Hubbard, Timothy L. "Random cognitive activation in dreaming does not require a Cartesian Theater." Dreaming 4, no. 4 (1994): 255–66. http://dx.doi.org/10.1037/h0094418.

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8

Roselli, Andrea. "The mind beyond the head: Two arguments in favour of embedded cognition." Filozofija i drustvo 29, no. 4 (2018): 505–16. http://dx.doi.org/10.2298/fid1804505r.

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In this paper I defend situated approaches of cognition, and the idea that mind, body and external world are inseparable. In the first section, I present some anti-Cartesian approaches of cognition and discuss the intuition they share that there is a constitutive interaction between mind, body and external environment. In the second section, I present the fallacy of the Cartesian theater of the mind and explain its theoretical premises. In the third section, I present a spatial argument against it, and argue that some case studies could give support to the idea of the mind stretching over the

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9

Krumholz, Brad. "R. Darren Gobert. The Mind-Body Stage: Passion and Interaction in the Cartesian Theater." Theatre Research in Canada 35, no. 3 (2014): 403–5. http://dx.doi.org/10.3138/tric.35.3.403.

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10

Samuel Bellini-Leite and Alfredo Pereira Jr. "Is Global Workspace a Cartesian Theater? How the Neuro-Astroglial Interaction Model Solves Conceptual Issues." Journal of Cognitive Science 14, no. 4 (2013): 335–60. http://dx.doi.org/10.17791/jcs.2013.14.4.335.

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11

Egginton, William. "The Mind-Body Stage: Passion and Interaction In the Cartesian Theater by R. Darren Gobert." Theatre Journal 67, no. 2 (2015): 361–62. http://dx.doi.org/10.1353/tj.2015.0065.

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ЛЕМПІЙ, Антон Олегович. "ДЕНІЕЛ ДЕННЕТ ПРО ФУНКЦІОНАЛЬНИЙ ХАРАКТЕР ЛЮДСЬКОЇ САМОСВІДОМОСТІ". Філософські обрії, № 33 (16 липня 2015): 137–46. https://doi.org/10.5281/zenodo.20388.

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In the article the philosophical concept of personal identity proposed by the American philosopher Daniel Dennett. Based on the major scientific works of the philosopher, author of the study describes a specific «Multiple Drafts Model», which is offered as a replacement to a widespread Cartesian Ego centrism. The self-consciousness concept in philosophical system of the American philosopher is based on his own understanding of the nature of human mind. Being the opponent of idea of the soul and body dualism, Dennett suggests to refuse non-constructive mixture of mental and physical

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13

Pessoa Jr., Osvaldo Frota. "How to measure a quale." Sofia 8, no. 1 (2019): 187–98. http://dx.doi.org/10.47456/sofia.v8i1.23853.

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According to the colored-brain thesis (or qualitative physicalism), sense data or qualia are real physical-chemical qualities, located inside the brain, possibly at a specific locus. Our hypothesis is that the seats of phenomenal consciousness have a structure and a materiality. According to the proposed view, a chromatic quale emerges when a certain pixel of the visual sensorium (the hypothetical subjective visual “screen”, or Cartesian theater, with its specific materiality ω) is fed with a certain pattern Σ of spikes; a change in this pattern quickly changes the color that is subjectively g

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14

Mather, Robert D., and Ashalee C. Hurst. "Book Review: And a Machiavellian Spin Doctor Shall Lead Them from the Spotlight of the Cartesian Theater." Evolutionary Psychology 9, no. 2 (2011): 147470491100900. http://dx.doi.org/10.1177/147470491100900207.

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15

Levine, Joseph. "The Metaphysics and Epistemology of Acquaintance." ProtoSociology 38 (2021): 15–34. http://dx.doi.org/10.5840/protosociology2021382.

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Phenomenal consciousness comprises both qualitative character and subjectivity. The former provides the proprietary contents of conscious experiences – determining what they are like – and the latter is that feature that renders those contents “for the subject”, so there is something it is like at all. I have developed a theory of consciousness as “acquaintance” which I dub the “Cartesian Theater” model, on which there is a fundamental psycho-physical law that takes the output of cognitive and perceptual systems as input and yields overall conscious experience as output. This model entails epi

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16

Ackerman, Alan. "René Descartes as Theatre Theorist and the Revolution of the Western StageR. Darren Gobert. The Mind-Body Stage: Passion and Interaction in the Cartesian Theater. Stanford: Stanford UP, 2013." Canadian Theatre Review 164 (September 2015): 98–100. http://dx.doi.org/10.3138/ctr.164.019.

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17

Koch, Erec R. "The Mind-Body Stage: Passion and Interaction in the Cartesian Theater. R. Darren Gobert. Stanford, CA: Stanford University Press, 2013. Pp. ix+248." Modern Philology 113, no. 3 (2016): E164—E166. http://dx.doi.org/10.1086/683319.

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18

Fancy, David. "The Mind–Body Stage: Passion and Interaction in the Cartesian Theater. By R. Darren Gobert. Stanford, CA: Stanford University Press, 2013. Pp. 248. £40/$60 Hb." Theatre Research International 40, no. 2 (2015): 205–6. http://dx.doi.org/10.1017/s0307883315000097.

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19

Young, Andy. "Closing the Cartesian Theatre." Behavioral and Brain Sciences 15, no. 2 (1992): 233. http://dx.doi.org/10.1017/s0140525x00068503.

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20

Kornhaber, David. "The Mind–Body Stage: Passion and Interaction in the Cartesian Theater. By R. Darren Gobert. Stanford: Stanford University Press, 2013; pp. xiii + 248, 18 illustrations. $60.00 cloth, $60 e-book." Theatre Survey 56, no. 1 (2014): 101–3. http://dx.doi.org/10.1017/s0040557414000611.

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21

Kostikova, Anna A. "Jean-Jacques Rousseau as an emblematic figure of French-speaking philosophy." Philosophy of the History of Philosophy 3 (2023): 183–92. http://dx.doi.org/10.21638/spbu34.2022.112.

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The article is devoted to the interpretation of the philosophical heritage of J.-J. Rousseau is primarily in French philosophy and culture. The key and most famous ideas of J.-J. Rousseau are considered from the point of view of modern philosophy and the formulation of vital questions peculiar to modern culture — about education, about freedom, about human rights, about the relationship between men and women, about languages, about music, about theater and about culture in general. Without claiming to be a complete reconstruction of the philosophical ideas of J.-J. Rousseau, the article sugges

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22

Blackmore, Susan J. "Three experiments to test the sensorimotor theory of vision." Behavioral and Brain Sciences 24, no. 5 (2001): 977. http://dx.doi.org/10.1017/s0140525x01260117.

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23

Bucci, Andrea. "The Cartesian Set Theory: A Unifying Theory for Mental Disorders." Journal of NeuroPhilosophy 2, no. 2 (2023): 314–20. https://doi.org/10.5281/zenodo.10200411.

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In this essay I want to propose a relative new theory about conscious states, human experience and its application in the study of mental disorders in the broader sense. I will call this theory, which has some similarities with the most famous Cartesian Theatre metaphor by Daniel Dennet, The Cartesian Set Theory. My Cartesian Set Theory try to reveal with the help of some analogies the entire field of human experience and, I retain obvious, the conscious one. Contextually, I will try to explain how the phenomenological inquiry overlap the biological studies about the brain functioning in psych

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24

Stępień, Tomasz. "Angel in “the Cartesian theatre” – Aquinas and the mind-body problem." Warszawskie Studia Teologiczne 31, no. 3 (2018): 66–79. http://dx.doi.org/10.30439/wst.2018.3.4.

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One of the solutions of the mind-body problem, which returns to the philosophical discussion on consciousness is the “soul hyphotesis”. Existence of the soul can clear the “explanatory gap”, but it brings yet another problems in explanation of how consciousness works. The magiority of those issues exist because of very specific understanding of the mind-body relations in Cartesian way as two separated substances. Some of the schoars propose to overlap the Cartesian approach by returning to the philosophy of St Thomas Aquinas. This article shows that in the writings of Aquinas we can find exact

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25

Marques, Bianco de Souza. "Music and theatre." Voz e Cena 3, no. 02 (2022): 204–20. http://dx.doi.org/10.26512/vozcen.v3i02.45412.

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O artigo propõe reflexões sobre as relações existentes entre a música e o teatro. Discorre sobre sua origem comum nos rituais do homem primitivo e na prática da mousikè, pelo coro da antiguidade clássica. Ressalta seu posterior afastamento decorrente de uma visão cartesiana da arte ocidental, que ainda hoje se faz presente na prática e formação dos artistas cênicos. O texto aponta para as noções de polifonia e de musicalidade como alicerces de uma experiência cênica que abarque a multiplicidade de vozes operadas por atores em cena, de modo a superar fronteiras entre as linguagens.

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26

Fabjański, Marcin. "Walking-Derived Metaphysics in Nietzsche’s “Thus Spoke Zarathustra”." Forum Philosophicum 29, no. 1 (2024): 29–41. http://dx.doi.org/10.35765/forphil.2024.2901.02.

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Friedrich Nietzsche’s Zarathustra, the protagonist of his most famous book, can be regarded as a philosopher who works towards becoming a sage—something that, towards the end of the narrative, ultimately seems to happen. Over the course of the account, he travels between his lonely cave and human society several times, walking up and down a mountain. In this article, I focus on how Nietzsche describes those walks using language that breaks with Cartesian dualism through its employment of such expressions as “lead-drop thoughts.” As a systematic frame of reference intended to support the analys

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27

Lourie, Svetlana V. "“Cartesian Theatre” in American Analytic Philosophy and in Orthodox Anthropology and Culturology." Almanac “Essays on Conservatism” 64 (June 30, 2021): 208–45. http://dx.doi.org/10.24030/24092517-2021-0-2-208-245.

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The article is devoted to the analysis of American analytic philosophy – the science mostly focused on the problem of the philosophy of conscience since the end of the 20th century, - in the perspective of the Orthodox anthropology and culturology. The author studies the key concepts of analytic philosophy, first of all qualia and the so-called difficult problem of conscience related to it. The author analyzes how and why the physicalism (materialism) of analytic philosophy took the form of illusionism, - the concept of the illusionary character of conscience, free will, human subjectivity and

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28

Kovacs, Teresa. "Theatre Meets Quantum Physics: René Pollesch’s Theatre for the Age of Technoscience." Seminar: A Journal of Germanic Studies 58, no. 3 (2022): 289–307. http://dx.doi.org/10.3138/seminar.58.3.4.

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This article looks closely at how the German director René Pollesch incorporates quantum physics into his theatrical practice. I argue that the double-slit experiment that Pollesch refers to in his play Probleme Probleme Probleme (2019) is key to understanding his non-representational theatre. I analyze the deep implications of this experiment for his theatre with respect to two aspects: (1) I highlight the fact that his interest in the writings of feminist and philosopher of science Donna Haraway is connected to a critique of representational theatre with its specific conceptualization of “th

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29

Pożar, Przemysław. "An Unexpected Journey “from the naves to the chops”: “Macbeth”, Animal Trade, and Theatrical Experience." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (2022): 87–104. http://dx.doi.org/10.18778/2083-8530.24.06.

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The paper proposes to appreciate the play’s butcheries as an incision into the unstable character of the category of the human. The vividness of the “strange images of death” is thus analysed with reference to the cultural poetics of Elizabethan theatre including its multifarious proximity to the bear-baiting arenas and execution scaffolds. The cluster of period’s cross-currents is subsequently expanded to incorporate the London shambles and its presumed resonance for the reception of Macbeth. Themes explored in the article magnify the relatedness between human and animals, underscore the poro

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30

Murphy, Maiya. "Enacting the Consequences of the Lecoq Pedagogy's Aesthetic Cognitive Foundation." Theatre Survey 58, no. 3 (2017): 326–51. http://dx.doi.org/10.1017/s0040557417000278.

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The theatre pedagogy of Jacques Lecoq (1921–99) is founded on the principle that all physical, psychological, intellectual, and emotional performance registers can be accessed by prioritizing the moving body. Therefore, a Lecoq-based approach is in contrast to dominant principles of psychologically based acting that privilege working through emotion and psychology. While Lecoq pedagogy does not discount these performance registers, normally considered to belong to the “internal” world of the actor, Lecoq's work reaches them through physical action. Lecoq pedagogy considers it possible to learn

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31

Гавриленко, Станислав Михайлович. "IMAGES OF EARTH: CONCEPTION OF GEOGRAPHICAL IMAGINATION IN DENIS COSGROVE’S CULTURAL GEOGRAPHY." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(30) (October 28, 2021): 36–57. http://dx.doi.org/10.23951/2312-7899-2021-4-36-57.

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«Географическое воображение» – это странное терминологическое сочетание. Оно может вызвать подозрение у академически респектабельной географии вследствие тех эпистемологических опасностей, которые оно, предположительно, несет. В статье анализируется понятие географического воображения в работах выдающегося британского культурного географа и историка картографии Дениса Косгроува (1948–2008). У Косгроува нет развернутой и систематической теории географического воображения, но оно является основной темой его многочисленных исследований. Вопрос о географическом воображении для Косгроува фундамента

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32

Roselli, Andrea. "How Long is Now? A New Perspective on the Specious Present." Disputatio 10, no. 49 (2018): 119–40. http://dx.doi.org/10.2478/disp-2018-0009.

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Abstract What is the Specious Present? Which is its duration? And why, ultimately, do we need it to figure in our phenomenological account of temporal perception? In this paper, after introducing the role of the Specious Present in the main models that account for our phenomenological present, and after considering the deflationary objection by Dennett (that the debate relies on the fallacy of the Cartesian Theatre of Mind, the idea that it is meaningful to ask where and when an experience becomes conscious), I claim—thanks to a spatial analogy—that there could be a good criterion to distingui

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33

Toropova, Anastasiya Aleksandrovna. "European project of designing new corporeality: mutant body, body without organs, agender body." Философия и культура, no. 1 (January 2020): 54–62. http://dx.doi.org/10.7256/2454-0757.2020.1.31430.

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The object of this research is the introduced into postmodernist discourse concept of body without organs. This article advances a hypothesis regarding the causes of occurrence of the aforementioned concept replacing the Cartesian teaching on parallelism of body and soul. Cultural practices of postmodernism fight against thinking of binary oppositions, which led to repression of the corporeal beginning. On the examples from the field of art and fashion, it is demonstrated that the theoretical model of body without organs finds its practical implementation. In this research the author applies a

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34

Shalimov, Andrey B. "The Media Discourse’s Structure of Russian Regional Telegram-channels." Research Result. Social Studies and Humanities 10, no. 4 (2024): 60–68. https://doi.org/10.18413/2408-932x-2024-10-4-0-6.

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Social media as a socio-cultural phenomenon are rapidly entering people's lives, but the lack of a comprehensive, institutional understanding of them and the logic of their development is leading to crisis situations (criminal prosecutions, public protests, etc.). This study is structured as a comprehensive analysis of social media as a complex socio-cultural object, based on applied data and a high degree of scientific and philosophical generalisation. The analysis of the structure of media discourse of regional telegraph channels is based on an applied study of 164 socio-political blogs in 2

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35

Safron, Adam. "The Radically Embodied Conscious Cybernetic Bayesian Brain: From Free Energy to Free Will and Back Again." Entropy 23, no. 6 (2021): 783. http://dx.doi.org/10.3390/e23060783.

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Drawing from both enactivist and cognitivist perspectives on mind, I propose that explaining teleological phenomena may require reappraising both “Cartesian theaters” and mental homunculi in terms of embodied self-models (ESMs), understood as body maps with agentic properties, functioning as predictive-memory systems and cybernetic controllers. Quasi-homuncular ESMs are suggested to constitute a major organizing principle for neural architectures due to their initial and ongoing significance for solutions to inference problems in cognitive (and affective) development. Embodied experiences prov

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36

Krumholz, Brad. "R. Darren Gobert. The Mind-Body Stage: Passion and Interaction in the Cartesian Theater." Theatre Research in Canada 35, no. 3 (2019). http://dx.doi.org/10.7202/1062345ar.

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37

Forstmann, Matthias, and Pascal Burgmer. "The cartesian folk theater: People conceptualize consciousness as a spatio-temporally localized process in the human brain." Journal of Experimental Psychology: General, December 20, 2021. http://dx.doi.org/10.1037/xge0001108.

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38

"Supplemental Material for The Cartesian Folk Theater: People Conceptualize Consciousness as a Spatio-Temporally Localized Process in the Human Brain." Journal of Experimental Psychology: General, December 6, 2021. http://dx.doi.org/10.1037/xge0001108.supp.

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39

Frankish, Keith, and Maxim D. Gorbachev. "Illusionism as a Theory of Consciousness. Part II." Voprosy Filosofii, 2022, 59–71. http://dx.doi.org/10.21146/0042-8744-2022-4-59-71.

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This is the second part of the article devoted to the approach to the problem of consciousness, which is called illusionism. Illusionism claims that phenomenal consciousness is illusory, because conscious experience is misrepresented as having phenomenal properties. Illusionism replaces the hard problem of consciousness with the problem of illusion. In this part, special attention is paid to the justification of illusionism and pointing out its advantages over radical and conservative realism. The critical part does not aim to refute the mentioned approaches or provide a definitive argument

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40

Mitew, Teodor. "Beta-Utopian Order." M/C Journal 7, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2469.

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   Whenever a people can be mediatized, they are.Paul Virilio In one of its most popular works – Electronic Civil Disobedience and Other Unpopular Ideas, the Critical Art Ensemble (CAE) outlines what it views as a major power shift characterizing the present, namely, the traditional public space – the street, has turned into ‘dead capital’. Borrowing from Guy Debord’s ideas on spectacular society, CAE theorizes that the spectacle has appropriated all, while power has mutated into a nomadic form of pure absence – ‘power itself cannot be seen; only its representation appears.’

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