Abstract
Three commitments guide Dennett’s approach to the study of consciousness. First, an ontological commitment to materialist monism. Second, a methodological commitment to what he calls ‘heterophenomenology.’ Third, a ‘doxological’ commitment that can be expressed as the view that there is no room for a distinction between a subject’s beliefs about how things seem to her and what things actually seem to her, or, to put it otherwise, as the view that there is no room for a reality/appearance distinction for consciousness. We investigate how Dennett’s third doxological commitment relates to his first two commitments and whether its acceptance should be seen as a mere logical consequence of acceptance of the first two. We will argue that this is not the case, that Dennett’s doxological commitment is in need of independent motivation, and that this independent motivation is not forthcoming.
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Notes
Here and in the remainder of this paper, we use the phrase ‘phenomenal beliefs’ to refer to the subjective beliefs a subject has about how things seem to her.
Note though that this dualism is more limited in scope than classical Cartesian dualism as it applies only to the phenomenal aspects of mental life.
However, see Noë (2004, Ch. 2) for reservations about whether people really have such a belief.
Here we are grateful to an anonymous referee for pointing out these last two readings of Dennett’s position.
One reason this distinction is often overlooked is that the same phrase, namely ‘the analog character of perceptual content,’ is sometimes used to refer to the fineness of grain of perceptual content, sometimes to its richness. Thus, while Peacocke (1992) uses the phrase to refer to fineness of grain, Dretske (1981) uses it to refer to richness.
See Noë (2002) for an in-depth investigation of this issue.
Some of the arguments in what follows are adapted from Dokic and Pacherie (2001).
Persons with absolute pitch may constitute an exception. Yet, it is estimated about 3% of the general population in Europe have absolute pitch and this figure only increases to about 8% in professional or semi-professional musicians. Furthermore, it seems that the ability exists either from early childhood or not at all. Although with considerable effort and extensive training an adult can acquire perform at a level that is close to that of persons with absolute pitch, this painfully acquired skill turns out to be quite fragile, i.e., it gets rapidly lost when practicing on tone recognition is terminated (Terhardt, 2000).
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Dokic, J., Pacherie, E. Too much ado about belief. Phenom Cogn Sci 6, 185–200 (2007). https://doi.org/10.1007/s11097-006-9036-9
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DOI: https://doi.org/10.1007/s11097-006-9036-9