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Neural Correlates of Consciousness: Theoretical problems and Candidates
Blaštík, Filip ; Flegr, Jaroslav (advisor) ; Boschetti, Silvia (referee)
Consciousness is part of the world, which yet resisted a scientific inquiries for an ages. This work is mainly concerned around Neural Correlates of Consciousness program which should uncover a nature of the consciousness. It covers wide variety of a theoretical problems, the first part is concerned around the ambivalence of Neural Correlates of Consciousness definition and its alternatives. The second part asks a questions, whether the neural correlates of consciousness is only discourse creating entity and sheds a light on the dilemma, if the right correlations to form neural correlates of consciousness are possible. It is done on a basis of the experimental evidence and their attempts to form Neural Correlate of Consciousness. In third chapter the philosophical dilemma is exposed. The dilemma arises from conceptual decisions "What is to be conscious", how researchers philosophically pre-conceptualize the scientific question. This is tried to be reconciled by unification of the philosophical theories. Alas it is shown the unification of the theories of mind is impossible. From this is drawn a conclusion that the philosophical pre-conception is a necessary ingredient to form the neural correlate of consciousness. To breach from mere a correlation to a causality is a matter of choosing testable and...
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Gombrich theory of reception of representational works of art
Fejfarová, Tereza ; Ševčík, Miloš (advisor) ; Kubalík, Štěpán (referee)
The aim of my thesis is to introduce E. H. Gombrich's views on the nature of the reception of representational works of art. Firstly I describe the moments in Gombrich's life that contributed to the formation of his views on this topic. Subsequently, I focus on Gombrich's very concept of the reception of representational works of art. My thesis is divided into three parts, in which Gombrich's reflections on reception are thematized. The first part introduces reflections on the participation of the viewer in the process of the reception of works of art. This part demonstrates that the core of Gombrich's views create a distinction between two spheres: "vision" and "knowledge". The second part, in which I tematize Gombrich's concept of reception, introduces his views on the artist's role and discusses the manner and limits of artistic creation. The third part describes Gombrich's reflections on the development of reception, in relation to historical changes on artistic functions. My thesis analyzes Gombrich's reflection, which is that knowledge, experience and memory have a dicisive influence on the perception, interpretation and the creation itself of the work of art. In another part of my thesis, I paraphrase Gombrich's reflections of the perspective representation and I pay attention to the...
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