Consciousness as an experimental variable: Problems of definition, practice, and interpretation

Manipulations of Libet clock parameters affect intention timing awareness

W judgments are a widely used intention timing awareness estimate. These judgments are typically obtained by using the classic Libet-style paradigm whereby participants are asked to estimate the time they become aware of their intention to act by using the location of a rotating object on a clock face. There is an inconsistency in the Libet clock parameters used in previous studies, and it is unclear whether this variability impacts W judgments and other outcome measures, with implications for the construct validity of this measure and the generalisability of results across studies. Here, we present a four-experiment study that systematically manipulated the Libet clock speed, number of clock markings, length of the clock hand and type of clock radius in order to examine whether these parameter manipulations affect intention timing awareness estimates. Our results demonstrate W judgments can be significantly influenced by the clock speed and number of clock markings. The meaning and implications of these results are discussed.

Time and the observer: The where and when of consciousness in the brain

We 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 because there is no single, definitive “stream of consciousness,” only a parallel stream of conflicting and continuously revised contents. Four puzzling phenomena that resist explanation by the Cartesian model are analyzed: (1) a gradual apparent motion phenomenon involving abrupt color change (Kolers & von Grünau 1976), (2) an illusion of an evenly spaced series of “hops” produced by two or more widely spaced series of taps delivered to the skin (Geldard & Sherrick's “cutaneous rabbit” [1972]), (3) backwards referral in time, and (4) subjective delay of consciousness of intention (both reported in this journal by LIbet 1985a; 1987; 1989a). The unexamined assumptions that have always made the Cartesian Theater so attractive are exposed and dismantled. The Multiple Drafts model provides a better account of the puzzling phenomena, avoiding the scientific and metaphysical extravagances of the Cartesian Theater: The temporal order of subjective events is a product of the brain's interpretational processes, not a direct reflection of events making up those processes.