The philosophy of art and empirical aesthetics are, to all outward appearances, natural bedfellows, disciplines bound together by complimentary methodologies and the common goal of explaining a shared subject matter. Philosophers are in the business of sorting out the ontological and normative character of different categories of objects, events and behaviors, squaring up our conception of the nature of things, and clarifying the subject matter of different avenues of intellectual exploration via careful conceptual analyses of often complex conventional practices. (...) Psychologists have developed careful empirical methods for measuring and modeling behavior, methods that are fruitfully used in practice to test and evaluate hypotheses derived from our conception of the nature of our own cognitive and emotional engagement with the world. So, for all appearances, philosophy and psychology are grounded in complimentary research methods directed at the common task of sorting and testing theories about the nature of art and artistic practices, e.g. what is an artwork, what is the nature of the productive practices involved in creating these kinds of artifacts, or what is the nature of a consumer's artistic engagement with these artifacts. Unfortunately appearances can be deceptive. Despite common calls for rapprochement the two disciplines rarely meet. There are methodological and ideological reasons for this rift, and they are, not surprisingly, related. In what follows I will explore and evaluate some of the central sources of resistance on both sides this divide, introduce a model for the possibility of rapprochement, and briefly sketch the promise and pitfalls of current research in two areas, dance and film, where an active attempt at bridging the divide between philosophy and empirical aesthetics is underway. (shrink)

The neuroscience of dance is a vibrant, fast growing field which embodies the promise of a genuine and productive interdisciplinary rapprochement between neuroscience and art. The strength of this field lies in the way it ties the experience of dance to sensorimotor processes that underwrite our ordinary perceptual engagement with the environment. Motor simulation and mimicry enhance our capacity to interpret the goals, motives, and emotions of others. Recent studies demonstrate that these same processes enable us to recognize (...) abstract dance movements as intentional actions with emotionally expressive and semantic content constitutive of their meaning. In what follows I examine this research with an eye to the potential contribution neuroscience can make to our understanding of dance as an artform. (shrink)

What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...) research focused on our perceptual engagement with artworks. Recent breakthroughs in cognitive science and behavioral science can explain how we recognize artworks and how we differentiate them from more quotidian artifacts. Seeley pushes this line of reasoning, showing how cognitive science can help reveal the way artworks function as a unique source of value. Cognitive systems integrate this information into our experience of art, guiding attention and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. -/- Attentional Engines explores the pitfalls and potential of this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and neuroscience and demonstrates its application to a range of puzzles in the philosophy of the arts. This includes questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies. The provocative interdisciplinary theories Seeley presents will appeal to scholars and students interested in aesthetics, philosophy of mind, philosophy of art, cognitive science, and anyone with a burning curiosity about how artworks work. (shrink)

A translation of the renowned French reference book, Vocabulaire de sciences cognitives , the Dictionary of Cognitive Science presents comprehensive definitions of more than 120 terms. The editor and advisory board of specialists have brought together 60 internationally recognized scholars to give the reader a comprehensive understanding of the most current and dynamic thinking in cognitive science. Topics range from Abduction to Writing, and each entry covers its subject from as many perspectives as possible within the domains of (...) psychology, artificial intelligence, neuroscience, philosophy, and linguistics. This multidisciplinary work is an invaluable resource for all collections. (shrink)

The idea that choreographic movements communicate to audiences by kinetic transfer is a commonplace among choreographers, dancers, and dance educators.1 Moreover, most dance lovers can cite their own favorite examples—the bounciness of the Royal Danish Ballet, the stomping of Bharata Natyam performers, the stag leaps in the thundering Greek chorus in Martha Graham’s Night Journey, or the contagious rhythmic transfer that takes over our feet when we watch classic tap dancers like Buster Brown. The perceptual capacity for kinetic transfer was (...) succinctly identified and theorized by John Martin. He called this capacity metakinesis. Martin was influenced by Theodor Lipps’s earlier theory of empathy. Lipps introduced his notion of empathy as a way to characterize our muscular responses to the perceived internal dynamics of inanimate objects under stress and tension, for example, weight-bearing columns and cantilevered boulders. Martin argued analogously about dance. -/- In what follows, we explore and evaluate three general challenges to the existence and significance of kinetic transfer in dance: challenges to the very possibility of kinesthetic understanding in dance, questions about the relevance of kinetic transfer to explanations of artistic communication in dance, and concerns about the relevance of kinetic transfer to evaluative questions germane to dance appreciation. We do not subscribe to every aspect of Martin’s story. Nevertheless, we think that Martin was exceedingly prescient. His speculations appear to be supported by recent research in neuroscience and psychology.We feel as a result that Martin’s comments are highly suggestive of what might be going on in ordinary dance consumers (or at least moderately informed ones). Critically, however, we do not model these contributions in terms of a discrete, stand-alone kinesthetic sense as Martin did. Rather, we argue that metakinesis and kinetic transfer refer to a general crossmodal sensorimotor perceptual capacity that contributes to our understanding and experience of actions in everyday contexts. Nor do we claim that audiences recognize and understand dance solely on the basis of kinetic transfer. Rather, we argue that this sensorimotor capacity is a contributing factor in our perceptual engagement with dance works, one of a range of tools ready to hand to choreographers and dancers for conveying information critical to the content of their works. (shrink)

Recent advances in out understanding of the cognitive neuroscience of perception have encouraged cognitive scientists and scientifically minded philosophers to turn their attention towards art and the problems of philosophical aesthetics. This cognitive turn does not represent an entirely novel paradigm in the study of art. Alexander Baumgarten originally introduced the term ‘aesthetics’ to refer to a science of perception. Artist’s formal methods are a means to cull the structural features necessary for constructing clear perceptual representations (...) from the dense flux of sensory information in conscious experience. therefore, he interpreted artist’s formal methods as tools for studying the structure of perception. Art was a field whose interests coincidentally overlapped with aesthetics. In what follows I examine three approaches to cognitive science and aesthetics that rest on a tacit assumption of Baumgarten’s program. I argue that whereas this new research can explain how viewers perceptually recover the content of artworks, it does not explain what makes those works aesthetically interesting. Therefore, the challenge for cognitive science and aesthetics is to tie the perceptual practices of artists and viewers to their more narrowly construed aesthetic, or artistic, practices. What is needed to establish this link is an interpretation of Baumgarten’s original definition of aesthetics that treats attention to the way the formal structure of an artwork works to convey its content as a source of aesthetic interest. Unfortunately this interpretation is not transparently established by explanations of the perceptual practices of artists and viewers. I conclude that it remains an open question whether this research can contribute to philosophical aesthetics. (shrink)

Different researchers from psychology and neuroscience state that navigation involves the manipulation of cognitive maps and graphs. In this paper, I will argue that navigating – specifically, journey planning – can be conceived as a process of practical reasoning. First, I will argue that journey planning constitutes a case of means-end reasoning involving inferences with cartographic representations. Then, I will argue that the output of journey planning functions as an instrumental belief in means-end reasoning. More specifically, journey planning (...) can deliver an instrumental rule that plays a normative role in spatial cognition. This approach motivates a pluralist conception of practical reasoning, stating that inferences might run through different representational formats and processes. (shrink)

A broad range of behavior is associated with crossmodal perception in the arts. Philosophical explanations of crossmodal perception often make reference to neuroscientific discussions of multisensory integration in selective attention. This research demonstrates that superior colliculus plays a regulative role in attention, integrating unique modality specific visual, auditory, and somatosensory spatial maps into a common spatial framework for action, and that motor skill, emotional salience, and semantic salience contribute to the integration of auditory, visual, and somatosensory information in ordinary perceptual (...) contexts. I present a model for multisensory integration in our engagement with artworks derived from a diagnostic recognition framework for object recognition and a biased competition model for selective attention. The proposed model attributes a role to superior colliculus in a broader fronto-parietal attentional network that integrates sensory information, primes perceptual systems to the expectation of stimulus features salient to particular sensorimotor or cognitive tasks at particular locations, and inhibits the perception of task irrelevant distracters. I argue that this model demonstrates that crossmodal effects are the rule not the exception in perception and discuss ways in which it explains a range of crossmodal effects in our engagement with pictures, dance, and musical performances. (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)

To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research in the (...) cognitive sciences, phenomenology, neuroscience, and philosophy, using examples from modern dance and jazz music. The account may be used for generating cross-disciplinary hypotheses about improvisation for investigation within a multitude of fields and is meant to encourage interdisciplinary work and collaboration between practitioners and academic researchers. The major goal is to elucidate the interaction dynamics that underlies joint improvisation by considering the variety of processes that support sensorimotor, experiential, emotional, meta-cognitive, and collaborative forms of interaction and lead to the coordination and synchronization of behavior. I claim that improvisation is an intelligent cognitive skill associated with meta-awareness, open to monitoring and control. It involves both automatized and flexible behavior and can occur without conscious awareness. Improvising in principle is independent of verbal language and higher-order thought, but nevertheless profits from the presence of multiple converging processes. (shrink)

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art (...) and science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. The two volumes of the Oxford Handbook of Critical Improvisation Studies gather scholarship on improvisation from an immense range of perspectives, with contributions from more than sixty scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, (...) history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others. (shrink)

Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. The two volumes of the Oxford Handbook of Critical Improvisation Studies gather scholarship on improvisation from an immense range of perspectives, with contributions from more than sixty scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, (...) history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others. (shrink)

The Dictionary of World Philosophy covers the diverse and challenging terminology, concepts, schools and traditions of the vast field of world philosophy. Providing an extremely comprehensive resource and an essential point of reference in a complex and expanding field of study the Dictionary covers all major subfields of the discipline. Key features: * Cross-references are used to highlight interconnections and the cross-cultural diffusion and adaptation of terms which has taken place over time * The user is led from (...) specific terms to master entries which provide valuable historical and cultural context * Each master entry is followed by at least two suggestions for further reading on the subject, creating a substantial bibliography of world philosophy * References extend beyond philosophy to related areas such as cognitive science, computer science, language and physics Subdisciplines covered include: * aesthetics * ethics * sociopolitical philosophy * the philosophy of law * epistemology * logic * the philosophy of science * the philosophy of mind * the philosophy of culture and history * metaphysics * the philosophy of religion Entries are drawn from West Africa, Arabic, Chinese, Indian, Japanese, Jewish, Korean, Latin American, Maori and Native American philosophy including the important and so far largely neglected instance of Pre-Hispanic thought: Nahua philosophy. (shrink)

The purpose of the article is to analyze the concept of contextual emergence as well as its selected applications in philosophy of mind and cognitive science. In the first section the author presents the general assumptions of the emergentist model of reality. He stresses that the concept of emergence can be applied to the description of various levels of organization of nature: one of these levels is that of mental-cognitive processes, analyzed within the fields of philosophy (...) of mind and cognitive science. In the subsequent sections, he introduces the definitions of contextual emergence and systemic causation and he points to their selected applications to mentalcognitive systems. In the concluding part, he presents the ideas of Gerald Edelman and Michael Gazzaniga on the role of contextual explanations as well as the concepts of emergence in the philosophy of biology and cognitive neuroscience. He also indicates the possibility of incorporating the concept of contextual emergence into active externalism and the extended cognition theory. (shrink)

Specifically designed to make the philosophy of mind intelligible to those not trained in philosophy, this book provides a concise overview for students and researchers in the cognitive sciences. Emphasizing the relevance of philosophical work to investigations in other cognitive sciences, this unique text examines such issues as the meaning of language, the mind-body problem, the functionalist theories of cognition, and intentionality. As he explores the philosophical issues, Bechtel draws connections between philosophical views and theoretical and (...) experimental work in such disciplines as cognitive psychology, artificial intelligence, linguistics, neuroscience, and anthropology. (shrink)

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, 'impressively atful minds'. Cognitively modern minds produced a staggering list of behavioural singularities - science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art - that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic (...) mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this book, which emerged from a year-long Getty-funded research project hosted by the Centre for Advanced Study in the Behavioural Sciences at Stanford. (shrink)

Aesthetic responsivity and the phenomenology of arts processes reflect integrative self-world engagements, and are informative about the nature of the world and our biology in ways that are often not be made evident through scientific research. Akins’ and Hahn’s research regarding human trichromatic visual perception brings together the art of photography, neuroscience, and psychophysics, along with analyses of perspectives on vision in science and philosophy, to invoke anti-reductive, holistic understandings of how we see colour. We bring aesthetics and (...) the phenomenology of arts processes to bear in exploring creaturely re-sponsivity to the complex inter-relational dynamics of light perception, and o˙er reflective metaphors for human engagements that challenge Darwinian utilitarian conceptions. We argue that attending to aesthetic and phenomenological aspects of experiences is essential to understanding how the shared circuits of cognition and sensory-motor engagement shape our perceptive responsive interactions. (shrink)

Psychology is the study of thinking, and cognitive science is the interdisciplinary investigation of mind and intelligence that also includes philosophy, artificial intelligence, neuroscience, linguistics, and anthropology. In these investigations, many philosophical issues arise concerning methods and central concepts. The Handbook of Philosophy of Psychology and Cognitive Science contains 16 essays by leading philosophers of science that illuminate the nature of the theories and explanations used in the investigation of minds. Topics discussed include representation, mechanisms, (...) reduction, perception, consciousness, language, emotions, neuroscience, and evolutionary psychology. Key Features - Comprehensive coverage of philosophy of psychology and cognitive science - Distinguished contributors: leading philosophers in this area - Contributions closely tied to relevant scientific research. (shrink)

This book evaluates how the pragmatist notion of habit can influence current debates at the crossroads between philosophy, cognitive sciences, neurosciences, and social theory. It deals with the different aspects of the pragmatic turn involved in 4E cognitive science and traces back the roots of such a pragmatic turn to both classical and contemporary pragmatism. Written by renowned philosophers, cognitive scientists, neuroscientists, and social theorists, this volume fills the need for an interdisciplinary account of the role (...) of 'habit'. Researchers interested in the philosophy of mind, cognitive science, neuroscience, psychology, social theory, and social ontology will need this book to fully understand the pragmatist turn in current research on mind, action and society. (shrink)

An Introduction to the Philosophy of Art is a clear and compact survey of philosophical theories of the nature and value of art, including in its scope literature, painting, sculpture, music, dance, architecture, movies, conceptual art and performance art. This second edition incorporates significant new research on topics including pictorial depiction, musical expression, conceptual art, Hegel, and art and society. Drawing on classical and contemporary philosophy, literary theory and art criticism, Richard Eldridge explores the representational, formal and expressive (...) dimensions of art. He argues that the aesthetic and semantic density of the work, in inviting imaginative exploration, makes works of art cognitively, morally and socially important. This importance is further elaborated in discussions of artistic beauty, originality, imagination and criticism. His accessible study will be invaluable to students of philosophy of art and aesthetics. (shrink)

The main aim of the paper is to defend (the possibility of) reductionism in the neuroscience--cognitive science case. This is done in three steps. First an ontological and methodological picture is presented which acknowledges the level structure of reality but claims that because every higher level is evolutionarily preceded by the lower level(s), reductionism is as viable strategy as anything else. Secondly, a direct challenge to the two popular doctrines, namely emergentism and supervenience, is presented, the point being (...) that we don't have clear conception of what "emerging" is or how specifically to explain what something's "depending on" something or "determining" something is (in the case of supervenience). In the third part the so-called modified structuralist framework (from the structuralist philosophy of science) is proposed as an alternative model to the old Nagelian one, a model which can serve reductionistic purposes well because it admits many kinds of reduction, from approximate to very strict ones. (shrink)

It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects (...) and events. Therefore these explanations fail to disambiguate artworks from other things. They fail to locate art. This observation points to a deeper problem. What interests us in art is how what we perceive has been used to show us what the work represents. Our understanding of art is governed by a range of productive and evaluative normative conventions that govern how we ought to look at a work and evaluate how it was made. The normative dimension of appreciation argument suggests that these aspects of our engagement with artworks lie outside the scope of neuroscientific explanations of art. This chapter provides a sketch of a diagnostic recognition framework for engaging art that resolves both problems and helps explains how artworks function within the social institution of the artworld to facilitate a communicative exchange between artists and consumers. (shrink)

Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists (...) are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities. (shrink)

How do cognitive neuroscientists explain phenomena like memory or language processing? This book examines the different kinds of experiments and manipulative research strategies involved in understanding and eventually explaining such phenomena. Against this background, it evaluates contemporary accounts of scientific explanation, specifically the mechanistic and interventionist accounts, and finds them to be crucially incomplete. Besides, mechanisms and interventions cannot actually be combined in the way usually done in the literature. This book offers solutions to both these problems based on (...) insights from experimental practice. It defends a new reading of the interventionist account, highlights the importance of non-interventionist studies for scientific inquiry, and supplies a taxonomy of experiments that makes it easy to see how the gaps in contemporary accounts of scientific explanation can be filled. The book concludes that a truly empirically adequate philosophy of science must take into account a much wider range of experimental research than has been done to date. With the taxonomy provided, this book serves a stepping-stone leading into a new era of philosophy of science—for cognitive neuroscience and beyond. (shrink)

The growing general interest in understanding how neuroscience can contribute to explanations of our understanding and appreciation of art has been slow to find its way to philosophy of literature. Of course this is not to say that neuroscience has not had any influence on current theories about our engagement, understanding, and appreciation of literary works. Colin Martindale developed a scientific approach to literature in his book The Clockwork Muse (1990). His prototype-preference theory drew heavily on early (...) artificial neural network research. Jenefer Robinson has appealed to results from affective neuroscience in her discussion of our emotional engagement with literary works (see Robinson, 2005). More recently literary critics have tried to extend cognitive literary theory in the direction of neuroscience (Ashton, 2005; Byatt, 2006; Young, 2010). This line of research traces its origin to commentary on a 1995 a paper by Herbert Simon in the Stanford Humanities Review (Franchi and Güzeldere, 1995). So, although there hasn't been much going on that could justifiably be called a neuroscience of literature, discussions of neuroscientific research have woven their way into the fabric of some aspects of philosophy of literature and literary theory. Nonetheless, there has been a great deal of resistance to the creeping insurgence of neuroscience into both fields. I will challenge this skepticism in what follows. In section 1, I will sketch a model for research at the crossroads of philosophy and neuroscience of art and suggest how it can be applied to the philosophy of literature. In Section 2, I will introduce situation models and discuss the role they have been hypothesized play in discourse comprehension and narrative understanding outside of literature. In Section 3, I will explore some ways that situation models can contribute to discussions of narrative understanding, appreciation, and the artistically salient features that differentiate literature as a category of art from non-art literary forms like newspaper columns, magazine articles, or biographies. (shrink)

I argue that Sellars’s distinction between signifying and picturing should be taken seriously by philosophers of mind, language, and cognition. I begin with interpretations of key Sellarsian texts in order to show that picturing is best understood as a theory of non-linguistic cognitive representations through which animals navigate their environments. This is distinct from the kind of discursive cognition that Sellars called ‘signifying’ and which is best understood in terms of socio-linguistic inferences. I argue that picturing is required because (...) reflection on signifying cannot adequately explain our need for cognitive friction. I then show how the idea of picturing is further developed by Paul Churchland, Ruth Garrett Millikan, and Huw Price. I finally turn to predictive processing as a theory of cognitive representation, and in particular Andy Clark’s ‘radical predictive processing’, to further characterize picturing. However, doing so has the cost of pushing picturing and signifying further apart than Sellars intended. (shrink)

According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s (...) overemphasis on cognition to the exclusion of affect. In my second section, drawing on my previous interpretations of proto-affect theorists (including Spinoza, Deleuze, and Fanon), I channel this tension in 4E cognitive science into a dancing partnership with human science psychology, suggesting three “choreographic provocations” for therapeutic practice and psychological research, namely (1) treating clients/subjects as dancers, (2) reimagining research and therapy as improvised duets between practitioners and clients/subjects, and (3) pursuing an ideal of freer movement and an emergent flourishing singularity for clients/subjects. Finally, I reformulate these three choreographic provocations in terms of my new theoretical method of “dancing-with,” as well as the four psychological prerequisites for flourishing posited by my figuration philosophy of dance. (shrink)

Cognitive Science, Literature, and the Arts is the first student-friendly introduction to the uses of cognitive science in the study of literature, written specifically for the non-scientist. Patrick Colm Hogan guides the reader through all of the major theories of cognitive science, focusing on those areas that are most important to fostering a new understanding of the production and reception of literature. This accessible volume provides a strong foundation of the basic principles of cognitive science, and (...) allows us to begin to understand how the brain works and makes us feel as we read. (shrink)

John Bickle's Psychoneural reduction: the new wave (Cambridge, MA: MIT Press, 1998) aims to resurrect reductionism within philosophy of mind. He develops a new model of scientific reduction, geared to enhancing our understanding of how theories in neuroscience and cognitive science are interrelated. I put this discussion in context, and assess the prospects for new wave reductionism, both as a general model of scientific reduction and as an attempt to defend reductionism in the philosophy of mind.

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The (...) view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

META-PHILOSOPHY 3 on philosophy, cognitive science, art, religion (spirituality, mysticism, Plotinus).

Bayesian cognitive science is a research programme that relies on modelling resources from Bayesian statistics for studying and understanding mind, brain, and behaviour. Conceiving of mental capacities as computing solutions to inductive problems, Bayesian cognitive scientists develop probabilistic models of mental capacities and evaluate their adequacy based on behavioural and neural data generated by humans (or other cognitive agents) performing a pertinent task. The overarching goal is to identify the mathematical principles, algorithmic procedures, and causal mechanisms that (...) enable cognitive agents to take uncertainty into account and weigh it appropriately in producing adaptive behaviour. -/- The appeal of Bayesian cognitive science derives from its transparency, normativity, and unifying power. Resources from Bayesian statistics allow cognitive scientists to characterise transparently, in terms of random variables and probabilistic dependencies between them, the inductive problems that many mental capacities are presumed to solve. Given this characterisation, researchers can define an upper bound on one’s performance on that problem and use it as a benchmark for interpreting experimental results, formulating hypotheses about why and when deviations from optimal performance should be expected, and seeking explanations of mental capacities within one encompassing theoretical framework. -/- Although critics question the testability, explanatory power, and plausibility of Bayesian models of mental capacities, Bayesian cognitive science has proved itself to be an incredibly fruitful research programme. Fuelled by empirical and theoretical results from psychology, neuroscience, philosophy, computer science, artificial intelligence, and evolution, Bayesian cognitive science has: advanced our understanding of why cognitive systems should keep track of uncertainty and use it to facilitate adaptive behaviour; clarified how the brain might encode information about the uncertainty of its stimuli and perform computations with probability distributions; and crystallised the insight that cognitive agents’ management of uncertainty might be grounded in predictive processes aimed at avoiding surprising exchanges with the environment. (shrink)

Cognitive science is a cross-disciplinary enterprise devoted to understanding the nature of the mind. In recent years, investigators in philosophy, psychology, the neurosciences, artificial intelligence, and a host of other disciplines have come to appreciate how much they can learn from one another about the various dimensions of cognition. The result has been the emergence of one of the most exciting and fruitful areas of inter-disciplinary research in the history of science. This volume of original essays surveys foundational, (...) theoretical, and philosophical issues across the discipline, and introduces the foundations of cognitive science, the principal areas of research, and the major research programs. With a focus on broad philosophical themes rather than detailed technical issues, the volume will be valuable not only to cognitive scientists and philosophers of cognitive science, but also to those in other disciplines looking for an authoritative and up-to-date introduction to the field. (shrink)

Cognitive neuroscience has come to be viewed as the flagship of the cognitive sciences and is transforming our understanding of the nature of mind. In this paper we survey several research fields in cognitive neuroscience (lateralization, neuroeconomics, and cognitive control) and note that they are making rapid progress on fundamental issues. Lateralization research is developing a comparative framework for evolutionary analysis, and is identifying individual- and population-level factors that favor brain asymmetries. Neuroeconomics is creating (...) a research framework for studying valuation mechanisms in the brain that allows investigation of more complex phenomena than traditional reward paradigms. And cognitive control research has cast light on the mechanisms of task learning and top-down control that enable fluid goal-directed behavior in complex situations. Reasons for the success of cognitive neuroscience are varied: technical advances (e.g., in molecular genetics and imaging) are part of the story, but the more important factors have to do with the power of integrating a bottom-up mechanistic approach with larger functional and evolutionary perspectives. The incorporation of a bottom-up component differentiates cognitive neuroscience from the multidisciplinary ambitions of classical cognitive science, which suffered from having limited access to mechanisms. (shrink)

This book is a unique exploration of the idea of the "second person" in human interaction, the idea that face-to-face interactions involve a distinctive form of reciprocal mental state attributions that mediates their dynamical unfolding. Challenging the view of mental attribution as a sort of "theory of mind", Pérez and Gomila argue that the second person perspective of mental understanding is the conceptually, ontogenetically, and phylogenetically basic way of understanding mentality. Second person interaction provides the opportunity for the acquisition of (...) concepts of mental states of increasing complexity. The book reviews the growing interest in a variety of second person phenomena, both in development and in adulthood, presenting research that shows how participants in human interaction attribute psychological states of a referentially transparent kind to each other. This review documents the spontaneous preference for face-to-face interaction, from eye contact to joint attention, from forms of vitality to communicative intentions, from interaction detection to joint action, and from synchrony to interpersonal coordination. Also looking at the implications and applications of the second person perspective within fields as diverse as art and morality, this book is fascinating reading for students and academics in social and cognitive psychology, cognitive science, neuroscience, and philosophy. (shrink)

Fundamentals of Cognitive Science draws on research from psychology, philosophy, artificial intelligence, linguistics, and neuroscience to provide an engaging and student-friendly introduction to this interdisciplinary field. Whilst structured around traditional cognitive psychology, the book also looks at cognitive neuroscience, and magic.

Cognitive science poses a variety of philosophical questions. In this forthcoming volume, leading researchers debate five core questions in the Philosophy of Cognitive Science: Is Universal Grammar required to explain our linguistic capacities? Are some of our concepts innate or are they all learned? What role do our bodies play in cognition? Can neuroscience help us understand the mind? Can cognitive science help us understand human morality? The volume contains two accessible essays on each topic, (...) each advocating for an opposing approach. (shrink)

Recent years have seen a rapid growth in neuroscientific research, and an expansion beyond basic research to incorporate elements of the arts, humanities and social sciences. It has been suggested that the neurosciences will bring about major transformations in the understanding of ourselves, our culture and our society. In academia one finds debates within psychology, philosophy and literature about the implications of developments within the neurosciences, and the emerging fields of educational neuroscience, neuro-economics, and neuro-aesthetics also bear witness (...) to a 'neurological turn' which is currently taking place. Neuroscience and Critique is a ground-breaking edited collection which reflects on the impact of neuroscience in contemporary social science and the humanities. It is the first book to consider possibilities for a critique of the theories, practices, and implications of contemporary neuroscience. Bringing together leading scholars from several disciplines, the contributors draw upon a range of perspectives, including cognitive neuroscience, critical philosophy, psychoanalysis, and feminism, and also critically examine several key ideas in contemporary neuroscience, including: The idea of "neural personhood" Theories of emotion in affective neuroscience Empathy, intersubjectivity and the notion of "embodied simulation" The concept of an "emo-rational" actor within neuro-economics. The volume will stimulate further debate in the emerging field of interdisciplinary studies in neuroscience, and will appeal to researchers and advanced students in a range of disciplines including critical psychology, philosophy, and critical studies. (shrink)

An introductory text on cognitive science from an interdisciplinary perspective. Containing chapters on philosophy, psychology, cognition, neuroscience, the network and evolutionary approaches. Covers theories and models of mind looking at all major information processing categories: perception, attention, language, emotions, social, and artificial intelligence.

The classic questions of philosophical aesthetics—how and why human beings find certain works of art beautiful or sublime—suffered from something of a hiatus in the twentieth century, but the study of beauty has seen a return in recent years, often calling on rapidly evolving research in cognitive science and neuroscience for assistance. Patrick Colm Hogan's Beauty and Sublimity: A Cognitive Aesthetics of Literature and the Arts is an important contribution to the burgeoning interdisciplinary field of cognitive (...) aesthetics. The book makes a brave attempt to bring together insights from neuroscience, cognitive science, and literature to explain aesthetic response and justification.Hogan's focus is on the minutiae of... (shrink)

According to Nancey Murphy, advances in science have made substance dualism a position with very little justification. However, contra Murphy’s claims, I defend the following thesis: When the central issues in philosophy of mind are made clear, it becomes evident that cognitive neuroscience which is rooted in the empirical data offers very little help, if at all, for selecting, clarifying and arguing about the central metaphysical issues, especially questions about the existence and nature of consciousness and the (...) soul. Thus, the Autonomy Thesis seems warranted in philosophy of mind. To defend this thesis, I, first, show that the central metaphysical issues in philosophy of mind are largely autonomous with respect to neuroscientific discoveries; second, respond to claims made by Murphy that, if true, would undermine my thesis. (shrink)

This book is intended as an introduction to the breadth of current research in cognitive science, with the research at Lund University Cognitive Science as our sample. The result is a smorgasbord for readers with some background in the neighbouring disciplines. Through the chapters we will follow some of the important cross-disciplinary issues in cognitive science. One is how the external world is represented, from cognitive maps in rats, to drawings made to enhance communication, or the (...) organization of semantic knowledge. Another is to what extent such representations really are used: the world is often its own best model in areas from robotics to choice, and several chapters illustrate that even communication is firmly situated in and constrained by its surroundings. In addition, many chapters emphasize the essentially dynamic relationship between mind and environment, in areas from development to interaction and learning. A third thread is how research concerning other animals= cognitive capacities, from pigeons to chimpanzees, has inspired research on human cognition, and how this comparative approach can be made to incorporate also non-animate fellow beings, such as robots and virtual characters. In sum, the book contains most of the areas we think are important in cognitive science today, and we hope that it will be of use for beginning researchers and advanced students in the area. Its production is part of the celebrations of Lund University Cognitive Science’s 20th anniversary. Our group hosts researchers with backgrounds in psychology, philosophy, computer science, linguistics, computational neuroscience, education, etc., and all of us have a multidisciplinary education. We encourage you to visit our web pages at www.lucs.lu.se to learn more about the activities of the group. (shrink)

We provide two programmatic frameworks for integrating philosophical research on understanding with complementary work in computer science, psychology, and neuroscience. First, philosophical theories of understanding have consequences about how agents should reason if they are to understand that can then be evaluated empirically by their concordance with findings in scientific studies of reasoning. Second, these studies use a multitude of explanations, and a philosophical theory of understanding is well suited to integrating these explanations in illuminating ways.

Cambridge University Press has recently published a new paperback edition of Habits. Pragmatist Approaches from Cognitive Science, Neuroscience, and Social Theory, edited by Fausto Caruana and Italo Testa, making this volume available to a wider readership. This is good news, given the important contribution which this volume makes to the current debate on recent trends in cognitive science, social theory, and pragmatism, as well as the high quality of the papers it includes. The editors’ amb...

I propose a cautionary assessment of the recent debate concerning the impact of the dynamical approach on philosophical accounts of scientific explanation in the cognitive sciences and, particularly, the cognitive neurosciences. I criticize the dominant mechanistic philosophy of explanation, pointing out a number of its negative consequences: In particular, that it doesn’t do justice to the field’s diversity and stage of development, and that it fosters misguided interpretations of dynamical models’ contribution. In order to support these arguments, (...) I analyze a case study in computational neuroethology and show why it should not be understood through a mechanistic lens; I specially focus on Zednik’s mechanistic interpretation of the case study. In addition, I argue for a greater appreciation of the relation between explanation and other epistemic goals in the field, as well as an increased sensitivity towards the associated contextual factors. (shrink)

"Cognitive psychology," "cognitive neuroscience," and "philosophy of mind" are names for three very different scientific fields, but they label aspects of the same scientific goal: to understand the nature of mental phenomena. Today, the three disciplines strongly overlap under the roof of the cognitive sciences. The book's purpose is to present views from the different disciplines on one of the central theories in cognitive science: the theory of mental models. Cognitive psychologists report their (...) research on the representation and processing of mental models in human memory. Cognitive neuroscientists demonstrate how the brain processes visual and spatial mental models and which neural processes underlie visual and spatial thinking. Philosophers report their ideas about the role of mental models in relation to perception, emotion, representation, and intentionality. The single articles have different and mutually complementing goals: to introduce new empirical methods and approaches, to report new experimental results, and to locate competing approaches for their interpretation in the cross-disciplinary debate. The book is strongly interdisciplinary in character. It is especially addressed to researchers in any field related to mental models theory as both a reference book and an overview of present research on the topic in other disciplines. However, it is also an ideal reader for a specialized graduate course. (shrink)

This article critically examines the views that psychology first came into existence as a discipline ca. 1879, that philosophy and psychology were estranged in the ensuing decades, that psychology finally became scientific through the influence of logical empiricism, and that it should now disappear in favor of cognitive science and neuroscience. It argues that psychology had a natural philosophical phase (from antiquity) that waxed in the seventeenth and eighteenth centuries, that this psychology transformed into experimental psychology ca. (...) 1900, that philosophers and psychologists collaboratively discussed the subject matter and methods of psychology in the first two decades of the twentieth century, that the neobehaviorists were not substantively influenced by the Vienna Circle, that the study of perception and cognition in psychology did not disappear in the behaviorist period and so did not reemerge as a result of artificial intelligence, linguistics, and the computer analogy, that although some psychologists adopted the language-of-thought approach of traditional cognitive science, many did not, and that psychology will not go away because it contributes independently of cognitive science and neuroscience. (shrink)