Whereas most humans spend their time trying to get things right, psycholo gists are perversely dedicated to error. Errors are extensively used to in vestigate perception, memory, and performance; some clinicians study errors like tea leaves for clues to unconscious motives; and this volume presents the work of researchers who, in an excess of perversity, actually cause people to make predictable errors in speech and action. Some reasons for this oddity are clear. Errors seem to stand at the nexus of many deep-psychological questions. The very concept of error presupposes a goal or criterion by comparison to which an error is an error; and goals bring in the foundation issues of control, motivation, and volition (Baars, 1987, 1988; Wiener, 1961). Errors serve to measure the quality of performance in learning, in expert knowledge, and in brain damage and other dysfunctional states; and by surprising us, they often call attention to phenomena we might otherwise take for granted. Errors also seem to reveal the "natural joints" in perception, language, memory, and problem solving-revealing units that may otherwise be invisible (e. g., MacKay, 1981; Miller, 1956; Newell & Simon, 1972; Treisman & Gelade, 1980)."

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, Inside 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 (the immensely complicated inner-workings of the brain's unconscious processes). 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. (For instance, Baars recounts one extraordinary sequence of experiments, in which state-of-the-art PET scans--reproduced here in full color--capture in fascinating, graphic detail how brain activity changes as people learn how to play the computer game Tetris.) 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.

Whereas most humans spend their time trying to get things right, psycholo gists are perversely dedicated to error. Errors are extensively used to in vestigate perception, memory, and performance; some clinicians study errors like tea leaves for clues to unconscious motives; and this volume presents the work of researchers who, in an excess of perversity, actually cause people to make predictable errors in speech and action. Some reasons for this oddity are clear. Errors seem to stand at the nexus of many deep-psychological questions. The very concept of error presupposes a goal or criterion by comparison to which an error is an error; and goals bring in the foundation issues of control, motivation, and volition (Baars, 1987, 1988; Wiener, 1961). Errors serve to measure the quality of performance in learning, in expert knowledge, and in brain damage and other dysfunctional states; and by surprising us, they often call attention to phenomena we might otherwise take for granted. Errors also seem to reveal the "natural joints" in perception, language, memory, and problem solving-revealing units that may otherwise be invisible (e. g. , MacKay, 1981; Miller, 1956; Newell & Simon, 1972; Treisman & Gelade, 1980).

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 (the immensely complicated inner-workings of the brain's unconscious processes). 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. (For instance, Baars recounts one extraordinary sequence of experiments, in which state-of-the-art PET scans--reproduced here in full color--capture in fascinating, graphic detail how brain activity changes as people learn how to play the computer game Tetris.) 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.