Did you know your brain has superpowers? Berit Brogaard, PhD, and Kristian Marlow, MA, study people with astonishing talents—memory champions, human echolocators, musical virtuosos, math geniuses, and synesthetes who taste colors and hear faces. But as amazing as these abilities are, they are not mysterious. Our brains constantly process a huge amount of information below our awareness, and what these gifted individuals have in common is that through practice, injury, an innate brain disorder, or even more unusual circumstances, they have managed to gain a degree of conscious access to this potent processing power. The Superhuman Mind takes us inside the lives and brains of geniuses, savants, virtuosos, and a wide variety of ordinary people who have acquired truly extraordinary talents, one way or another. Delving into the neurological underpinnings of these abilities, the authors even reveal how we can acquire some of them ourselves—from perfect pitch and lightning fast math skills to supercharged creativity. The Superhuman Mind is a book full of the fascinating science readers look for from the likes of Oliver Sacks, combined with the exhilarating promise of Moonwalking with Einstein.
Did you know your brain has superpowers? Berit Brogaard, PhD, and Kristian Marlow, MA, study people with astonishing talents—memory champions, human echolocators, musical virtuosos, math geniuses, and synesthetes who taste colors and hear faces. But as amazing as these abilities are, they are not mysterious. Our brains constantly process a huge amount of information below our awareness, and what these gifted individuals have in common is that through practice, injury, an innate brain disorder, or even more unusual circumstances, they have managed to gain a degree of conscious access to this potent processing power. The Superhuman Mind takes us inside the lives and brains of geniuses, savants, virtuosos, and a wide variety of ordinary people who have acquired truly extraordinary talents, one way or another. Delving into the neurological underpinnings of these abilities, the authors even reveal how we can acquire some of them ourselves—from perfect pitch and lightning fast math skills to supercharged creativity. The Superhuman Mind is a book full of the fascinating science readers look for from the likes of Oliver Sacks, combined with the exhilarating promise of Moonwalking with Einstein.
What are the things that we assert, believe, and desire? The orthodox view among philosophers is eternalism: these are contents that have their truth-values eternally. This book provides a defense of the opposing view, temporalism: these are contents that can change their truth-values along with changes in the world.
Imagine you are sitting at Starbuck glancing at the blue coffee mug in front of you. The mug is blue on the outside, white on the inside. It's large for a mug. And it's nearly full of freshly made coffee. In the envisaged case, you see all those aspects of the scene in front of you, but it remains a question of ferocious debate whether the visual experience that makes up your seeing is a direct “perceptual” relation between you and your environment or a psychology state that has a content that represents the mug. If your experience involves an external “perceptual” relation to an external, mind-independent object, it is unlike familiar mental states such as belief and desire states, which are widely considered psychological states with a representational content that stands between you and the external world. Your belief that the coffee mug in front of you is blue has a content that represents the coffee mug as being blue. Your desire that the coffee in the mug is still hot has a content that represents a state of affairs that may or may not in fact obtain, namely the state of affairs that the coffee in the mug is still hot. In this book, Brit Brogaard defends the view that visual experience is like belief in having a representational content. Her defense differs from most previous defenses of this view in that it begins by looking at the language of ordinary speech. She provides a linguistic analysis of what we say when we say that things look a certain way or that the world appears to us to be a certain way. She then argues that this analysis can be used to argue for the view that visual experience has a representation content that mediates between you and the world when you visually perceive.
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