First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Ecology is indispensable to understanding the biological world and addressing the environmental problems humanity faces. Its philosophy has never been more important. In this book, James Justus introduces readers to the philosophically rich issues ecology poses. Besides its crucial role in biological science generally, climate change, biodiversity loss, and other looming environmental challenges make ecology's role in understanding such threats and identifying solutions to them all the more critical. When ecology is applied and its insights marshalled to address these (...) problems and guide policy formation, interesting philosophical issues emerge. Justus sets them out in detail, and explores the often ethically charged dimensions of applied ecological science, using accessible language and a wealth of scientifically-informed examples. (shrink)

Evolutionary psychology often does not sufficiently document the innate constraint and domain specificity required for strong adaptationist argument. We develop these criteria within the domain of music. First, we advocate combining computational, developmental, cross-cultural, and neuroscience research to address the ways in which a domain is innately constrained. Candidate constraints in music include the importance of the octave and other simple pitch ratios, the categorization of the octave into tones, the importance of melodic contour, tonal hierarchies, and principles of grouping (...) and meter. Second, we advocate combining psychological, neuroscience, and genetic research across cognitive domains to address the domain specificity of such constraints. Currently available evidence suggests that the innate constraints in music are not specific to that domain, making it unclear which domain(s) provided the relevant selection pressures. (shrink)

In 17th-century intellectual life, the ideas of the Renaissance humanist Justus Lipsius (1547-1606) were omnipresent. The publication of his 'Politica' in 1589 had made Lipsius's name as an original and controversial political thinker. The sequel, the 'Monita et exempla politica' ('Admonitions'), published in 1605, was meant as an illustration of Lipsius's political thought as expounded in the 'Politica'. Its aim was to offer concrete models of behavior for rulers against the background of Habsburg politics. Lipsius's later political treatise also (...) forms an indispensable key to interpret the place and function of the 'Politica' in Lipsius's political discourse and in early modern political thought. The 'Political admonitions and examples' - widely read, edited and translated in the 17th and 18th centuries - show Lipsius's pivotal role in the genesis of modern political philosophy. (shrink)

Three experiments investigated the modularity of harmonic expectations that are based on cultural schemata despite the availability of more predictive veridical information. Participants were presented with prime–target chord pairs and made an intonation judgment about each target. Schematic expectation was manipulated by the combination of prime and target, with some transitions being schematically more probable than others. Veridical information in the form of prime–target previews, local transition probabilities, or valid versus invalid previews was also provided. Processing was facilitated when a (...) schematically probable target chord followed the prime. Furthermore, this effect was independent of all manipulations of veridical expectation. A solution to L. B. Meyer's (1967b) query "On Rehearing Music" is suggested, in which schematic knowledge contributes to harmonic expectation in a modular manner regardless of whether any veridical knowledge exists. (shrink)

This book gives a detailed treatment of functional interpretations of arithmetic, analysis, and set theory. The subject goes back to Gödel's Dialectica interpretation of Heyting arithmetic which replaces nested quantification by higher type operations and thus reduces the consistency problem for arithmetic to the problem of computability of primitive recursive functionals of finite types. Regular functional interpretations, i.e. Dialectica and Diller-Nahm interpretation as well as Kreisel's modified realization, together with their Troelstra-style hybrids, are applied to constructive as well as classical (...) systems of arithmetic, analysis, and set theory. They yield relative consistency and conservativity results and closure under relevant rules of the theories in question as well as axiomatic characterizations of the functional translations. Prerequisites are: familiarity with classical and intuitionistic predicate logic, basics of computability theory, Gödel's incompleteness theorems. (shrink)

This chapter reviews the field of music perception and cognition, which is the area of cognitive psychology devoted to determining the mental mechanisms underlying our appreciation of music. The chapter begins with the study of pitch, including the constructive nature of pitch perception and the cognitive structures reflecting its simultaneous and sequential organization in Western tonal‐harmonic music. This is followed by reviews of temporal organization in music, and of musical performance and ability. Next, literature concerning the cognitive neuroscience of music (...) is examined, including studies of neuropsychology, neuroimaging, and event‐related potentials. The chapter concludes with a discussion of developmental music cognition, cross‐cultural music cognition, and the evolutionary psychology of music. (shrink)

A reprint of the Macmillan edition of 1968. While most interpretive studies of the _Critique of Pure Reason_ are either too scholarly or too superficial to be of practical use to students, Hartnack has achieved a concise comprehensive analysis of the work in a lucid style that communicates the essence of extraordinarily complex arguments in the simplest possible way. An ideal companion to the _First Critique_, especially for those grappling with the work for the first time.

In this essay, Timothy Justus reviews the book Brain and Music (2012) by Stefan Koelsch, first providing a sketch of the book’s contents, including examples of Koelsch’s empirical work from four core areas (1) musical syntax, (2) musical semantics, (3) music and action, and (4) music and emotion. Justus then proceeds to discuss the continuous nature of cognitive domains and the continuous nature of mental activity.

Ten cerebellar patients were compared to 10 control subjects on a verbal working memory task in which the phonological similarity of the words to be remembered and their modality of presentation were manipulated. Cerebellar patients demonstrated a reduction of the phonological similarity effect relative to controls. Further, this reduction did not depend systematically upon the presentation modality. These results first document that qualitative differences in verbal working memory may be observed following cerebellar damage, indicating altered cognitive processing, even though behavioral (...) output as measured by the digit span may be within normal limits. However, the results also present problems for the hypothesis that the cerebellar role is specifically associated with articulatory rehearsal as conceptualized in the Baddeley–Hitch model of working memory. (shrink)

Three neuropsychological experiments on a group of 16 cerebellar patients and 16 age- and education-matched controls investigated the effects of damage to the cerebellum on English grammatical morphology across production, comprehension, and grammaticality judgment tasks. In Experiment 1, participants described a series of pictures previously used in studies of cortical aphasic patients. The cerebellar patients did not differ significantly from the controls in the total number of words produced or in the proportion of closed-class words. They did differ to a (...) marginally significant extent in the production of required articles. In Experiment 2, participants identified the agent in a series of aurally presented sentences in which three agency cues (subject–verb agreement, word order, and noun animacy) were manipulated. The cerebellar patients were less affected than the controls were by the manipulation of subject–verb agreement to a marginally significant extent. In Experiment 3, participants performed a grammaticality judgment task on a series of aurally presented sentences. The cerebellar patients were significantly less able to discriminate grammatical and ungrammatical sentences than the controls were, particularly when the error was of subject–verb agreement as opposed to word order. The results suggest that damage to the cerebellum can result in subtle impairments in the use of grammatical morphology, and are discussed in light of hypothesized roles for the cerebellum in language. (shrink)

In the classical view of emotion, the basic emotions (anger, disgust, fear, joy, sadness, and surprise) are assumed to be natural kinds that are perceiver-independent. Correspondingly, each is thought to possess a distinct neural and physiological signature, accompanied by an expression that is universally recognized despite differences in culture, era, and language. An alternative, the theory of constructed emotion, emphasizes that, while the underlying interoceptive sensations are biological, emotional concepts are learned, socially constructed categories, characterized by many-to-many relationships among diverse (...) brain states, physiological signs, facial movements, and their emotional meanings. This biocultural view permits a greater degree of cultural-historical specificity when interpreting the emotions of others. In this article, I consider the implications of the theory of constructed emotion for cognitive film theory, especially regarding the interpretation of depicted facial expressions of emotion as one aspect of cinematic expression. Particular attention is given to recent work revisiting the Kuleshov effect, in which the meaning of a character’s facial expression is thought to change in the context of a montage. (shrink)

In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber's Adagio for Strings—I follow the example set by Murray Smith in (...) Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film. (shrink)

Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians and non-musicians) who each evaluated the relatedness (...) of 96 melody-word pairs. Among the tonal melodies, we manipulated mode (major and minor) and timbre (clarinet and flute) while systematically controlling for other musical factors including pitch register and melodic contour. Similarly, among the English words, we manipulated word affect (happy and sad) while systematically controlling for other lexical factors including frequency and word length. Results demonstrated that participants provided a higher proportion of related responses for major melodies paired with happy words and minor melodies paired with sad words than for the reverse pairings. This interaction between mode and word affect was highly significant for both musicians and non-musicians, albeit with a larger effect for the former group. Further interactions with timbre suggested that while both clarinet and flute conveyed happiness when in the major mode, the clarinet was somewhat more successful than the flute at conveying sadness in the minor mode. Debriefing questionnaires suggested that the majority of the participants, including all of the non-musicians, had no awareness of the major-minor manipulation, and instead directed their attention to register and contour. We argue that the affective character of the major and minor modes is but one example of form-meaning mapping in music, and suggest further exploration of the roles of timbre, register, and contour in conveying musical emotions. (shrink)

Beyond the major-minor tonality that characterizes classical and contemporary Western musical genres, Turkish classical and folk music offer experimental psychologists a rich modal system in which cognition, development, and enculturation can be studied. Here, we present a cross-cultural experiment concerning implicit knowledge of musical scales. Five groups of participants—American musicians and nonmusicians, Turkish musicians and nonmusicians, and Turkish classical and folk music listeners—were asked to listen to brief melodies composed using the member tones of either the major scale or the (...) rast makam, a microtonal mode found within Turkish classical and folk genres with no equivalent in Western music. Following each melody, participants were asked to identify whether a probe tone had been presented in the melody, providing confidence ratings on a six-point scale. In general, participants’ short-term memory was influenced by implicit knowledge of musical scales, with the major scale eclipsing the rast makam even in listeners experienced with Turkish genres. Prior work and future directions in cross-cultural music cognition research are discussed. (shrink)

How does the mind lend itself to artistic creation and appreciation? How should we study minds and arts in ways that transform our understanding of both? This book examines the concepts of art and cognition from the complementary perspectives of philosophy, the empirical sciences, and the humanities. Central chapters combine examples of visual art, music, literature, and film with the properties of cognition that they illuminate, including 4E cognition, predictive processing, and theories of affect and emotion. These aspects of cognition (...) are undergoing theoretical shifts that complicate established understandings of the mind and its encounter with the arts. As the book takes stock of recent developments in aesthetics that have incorporated empirical findings (Naturalized Aesthetics), it also envisions a new generation of cognitive science with robust ties to history and literature (the Cognitive Humanities). In this way, Cognition and the Arts can be seen as a model of interdisciplinary scholarship. (shrink)

Justus Hartnack provides a highly accessible, philosophically astute introduction to Hegel’s logic.