Daniel C. Dennett – författare

In the years since Daniel Dennett''s influential Consciousness Explained was published in 1991, scientific research on consciousness has been a hotly contested battleground of rival theories—"so rambunctious," Dennett observes, "that several people are writing books just about the tumult." With Sweet Dreams, Dennett returns to the subject for "revision and renewal" of his theory of consciousness, taking into account major empirical advances in the field since 1991 as well as recent theoretical challenges.

In Consciousness Explained, Dennett proposed to replace the ubiquitous but bankrupt Cartesian Theater model (which posits a privileged place in the brain where "it all comes together" for the magic show of consciousness) with the Multiple Drafts Model. Drawing on psychology, cognitive neuroscience, and artificial intelligence, he asserted that human consciousness is essentially the mental software that reorganizes the functional architecture of the brain. In Sweet Dreams, he recasts the Multiple Drafts Model as the "fame in the brain" model, as a background against which to examine the philosophical issues that "continue to bedevil the field."

With his usual clarity and brio, Dennett enlivens his arguments with a variety of vivid examples. He isolates the "Zombic Hunch" that distorts much of the theorizing of both philosophers and scientists, and defends heterophenomenology, his "third-person" approach to the science of consciousness, against persistent misinterpretations and objections. The old challenge of Frank Jackson''s thought experiment about Mary the color scientist is given a new rebuttal in the form of "RoboMary," while his discussion of a famous card trick, "The Tuned Deck," is designed to show that David Chalmers''s Hard Problem is probably just a figment of theorists'' misexploited imagination. In the final essay, the "intrinsic" nature of "qualia" is compared with the naively imagined "intrinsic value" of a dollar in "Consciousness—How Much is That in Real Money?"

An evolutionary and cognitive account of the addictive mind candy that is humor.

Some things are funny—jokes, puns, sitcoms, Charlie Chaplin, The Far Side, Malvolio with his yellow garters crossed—but why? Why does humor exist in the first place? Why do we spend so much of our time passing on amusing anecdotes, making wisecracks, watching The Simpsons? In Inside Jokes, Matthew Hurley, Daniel Dennett, and Reginald Adams offer an evolutionary and cognitive perspective. Humor, they propose, evolved out of a computational problem that arose when our long-ago ancestors were furnished with open-ended thinking. Mother Nature—aka natural selection—cannot just order the brain to find and fix all our time-pressured misleaps and near-misses. She has to bribe the brain with pleasure. So we find them funny. This wired-in source of pleasure has been tickled relentlessly by humorists over the centuries, and we have become addicted to the endogenous mind candy that is humor.

A landmark book in the debate over free will that makes the case for compatibilism.

In this landmark 1984 work on free will, Daniel Dennett makes a case for compatibilism. His aim, as he writes in the preface to this new edition, was a cleanup job, “saving everything that mattered about the everyday concept of free will, while jettisoning the impediments.” In Elbow Room, Dennett argues that the varieties of free will worth wanting—those that underwrite moral and artistic responsibility—are not threatened by advances in science but distinguished, explained, and justified in detail.

Dennett tackles the question of free will in a highly original and witty manner, drawing on the theories and concepts of fields that range from physics and evolutionary biology to engineering, automata theory, and artificial intelligence. He shows how the classical formulations of the problem in philosophy depend on misuses of imagination, and he disentangles the philosophical problems of real interest from the “family of anxieties” in which they are often enmeshed—imaginary agents and bogeymen, including the Peremptory Puppeteer, the Nefarious Neurosurgeon, and the Cosmic Child Whose Dolls We Are. Putting sociobiology in its rightful place, he concludes that we can have free will and science too. He explores reason, control and self-control, the meaning of “can” and “could have done otherwise,” responsibility and punishment, and why we would want free will in the first place. A fresh reading of Dennett''s book shows how much it can still contribute to current discussions of free will.

This edition includes as its afterword Dennett''s 2012 Erasmus Prize essay.

An anniversary edition of a classic in cognitive science, with a new introduction by the author.

When Brainstorms was published in 1978, the interdisciplinary field of cognitive science was just emerging. Daniel Dennett was a young scholar who wanted to get philosophers out of their armchairs—and into conversations with psychologists, linguists, computer scientists. This collection of seventeen essays by Dennett offers a comprehensive theory of mind, encompassing traditional issues of consciousness and free will. Using careful arguments and ingenious thought experiments, the author exposes familiar preconceptions and hobbling intuitions. The essays are grouped into four sections: “Intentional Explanation and Attributions of Mentality”; “The Nature of Theory in Psychology”; “Objects of Consciousness and the Nature of Experience”; and “Free Will and Personhood.”

This anniversary edition includes a new introduction by Dennett, “Reflections on Brainstorms after Forty Years,” in which he recalls the book''s original publication by Harry and Betty Stanton of Bradford Books and considers the influence and afterlife of some of the essays. For example, “Mechanism and Responsibility” was Dennett''s first articulation of his concept of the intentional stance; “Are Dreams Experiences?” anticipates the major ideas in his 1991 book Consciousness Explained; and “Where Am I?” has been variously represented in a BBC documentary, a student''s Javanese shadow puppet play, and a feature-length film made in the Netherlands, Victim of the Brain.