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)

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)

Philosophical accounts of narrative fiction can be loosely divided into two types. Participant accounts argue that some sort of simulation, or 1st person perspective taking plays a critical role in our engagement with narratives. Observer accounts argue to the contrary that we primarily engage narrative fictions from a 3rd person point of view, as either side participants or outside observers. Recent psychological research suggests a means to evaluate this debate. The perception of distance and slope is influenced by the (...) energetic (e.g., task difficulty) and emotional (e.g., anxiety) costs of actions. These effects are limited to increases in the costs of actions agents intend to perform themselves, generalize to cases where participants imagine acting, and demonstrate a role for tacit motor simulation in action planning. If participant accounts are sound, one should, therefore, find similar effects across changes in the interpretation of the costs of actions depicted in static images. We asked people to copy the rough spatial layout of two paintings across different interpretations of the costs of the actions they depicted. We predicted that increasing costs would cause participants to draw distances as longer and hills as steeper. Our results confirm this prediction for the energetic, but not the emotional, costs of actions. (shrink)

In the philosophy of perception, olfaction is the perennial problem child, presenting a range of difficulties to those seeking to define its proper referents, and its phenomenological content. Here, we argue that many of these difficulties can be resolved by recognizing the object-like representation of odors in the brain, and by postulating that the basic objects of olfaction are best defined by their biological value to the organism, rather than physico-chemical dimensions of stimuli. Building on this organism-centered account, we speculate (...) that the phenomenological space of olfaction is organized into a number of coarse affective dimensions that apply categorically. This organization may be especially useful for coupling sensation to decision-making and instrumental action in a sensory modality where the stimulus space is especially complex and high-dimensional. (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)

Justification, or at least ‘justification’, bulks large in recent epistemology. The view that knowledge consists of true-justified-belief has been prominent in this century, and the justification of belief has attracted considerable attention in its own right. But it is usually not at all clear just what an epistemologist means by ‘justified’, just what concept the term is used to express. An enormous amount of energy has gone into the attempt to specify conditions under which beliefs of one or another sort (...) are justified; but relatively little has been done to explain what it is for a belief to be justified, what that is for which conditions are being sought. The most common procedure has been to proceed on the basis of a number of obvious cases of justified belief, without pausing to determine what property it is of which these cases are instances. Now even if there were some single determinate concept that all these theoriests have implicitly in mind, this procedure would be less than wholly satisfactory. For in the absence of an explicit account of the concept being applied, we lack the most fundamental basis for deciding between supposed intuitions and for evaluating proposed conditions of justification. And in any event, as philosophers we do not seek merely to speak the truth, but also to gain an explicit, reflective understanding of the matters with which we deal. We want to know not only when our beliefs are justified, but also what it is to enjoy that status. True, not every fundamental concept can be explicated, but we shall find that much can be done with this one. (shrink)

Divine Nature and Human Language is a collection of twelve essays in philosophical theology by William P. Alston, one of the leading figures in the current renaissance in the philosophy of religion. Using the equipment of contemporary analytical philosophy, Alston explores, partly refashions, and defends a largely traditional conception of God and His work in the world a conception that finds its origins in medieval philosophical theology. These essays fall into two groups: those concerned with theological language and (...) those that deal with the nature, status, and activity of God. In Part 1, Alston develops a conceptual scheme for discussing the topic of theological language. He also argues that there is a core of literal talk about God and even a core of predicates univocally applicable to God and creatures. Furthermore, he shows that God can be referred to directly as well as descriptively. In Parts II and III, the author sketches out a middle way between a classical conception of God exemplified by Aquinas and the more recent “process” or “panentheist” conception exemplified by Hartshorne. Alston argues that such a God can act so as to have real effects in the world and can enter into genuine dialogue and otherwise interact with human beings. In addition, he defends the idea that God provides a foundation for morality. The first collection of Alston's ground breaking work in the philosophy of religion, Divine Nature and Human Language will be welcomed by scholars and students of the philosophy of religion, metaphysics, theology, and religious studies. (shrink)

2. Daugman, J. G. Brain metaphor and brain theory 3. Mundale, J. Neuroanatomical Foundations of Cognition: Connecting the Neuronal Level with the Study of Higher Brain Areas.

Artworks are attentional engines, or artifacts intentionally designed to direct attention to formal features that are diagnostic for their artistically salient aesthetic, expressive, and semantic content. This is nowhere more true than the movies. Moving pictures are constructed from a suite of formal and narrative devices carefully developed to capture, hold, and direct our attention. These devices are tools for developing content by controlling the way information is presented throughout the duration of our engagement with a movie. In this (...) respect moving pictures are analogous to visual routines used to direct and bias attention in natural behavior - they are artifacts used to deliver information on the fly as it is needed for the development of the narrative. This article reviews some of the fundamental devices movie makers use to discharge this function - such as variable framing and criterial prefocusing – and discusses their relation to our underlying cognitive, affective, and neurological architecture. These formal devices are designed to guide and control salient aspects of viewers behavioral responses to mass market movies. Therefore, we argue that it is no surprise to discover that that they are fine tuned to the architecture of emotion, perception, and cognition. (shrink)

Immediate knowledge is here construed as true belief that does not owe its status as knowledge to support by other knowledge (or justified belief) of the same subject. The bulk of the paper is devoted to a criticism of attempts to show the impossibility of immediate knowledge. I concentrate on attempts by Wilfrid Sellars and Laurence Bonjour to show that putative immediate knowledge really depends on higher-level knowledge or justified belief about the status of the beliefs involved in the putative (...) immediate knowledge. It is concluded that their arguments are lacking in cogency. (shrink)

Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for (...) object recognition and recent research in cognitive neuroscience on selective visual attention. This research demonstrates that endogenous shifts of visual attention enhance the encoding of expected features in the visual field and inhibit the perception of potential distracters. Moreover, it demonstrates complementary roles for spatial schemata and motor plans in visual attention. We argue that artists develop novel spatial schemata, which enable them to recognize and reproduce stimulus features sufficient for adequate artistic production in a medium, and that these schemata become encoded as motor plans as artists develop technical proficiency in a medium. We hypothesize that artists' perceptual advantages can therefore, be explained by the role spatial schemata and motor plans play in selective attention. (shrink)

Sellars is well known for his critique of the “myth of the given” in his “Empiricism and the Philosophy of Mind”. That text does not make it unambiguous just how he understands the “myth”. Here I take it that whatever else may be involved, his critique is incompatible with the view that there is a nonconceptual mode of “presentation” or “givenness” of particulars that is the heart of sense perception and what is most distinctive of perception as a type (...) of cognition. A critical examination of Sellars’ arguments, particularly those directed at the Theory of Appearing, results in the conclusion that he has failed to eliminate the above view of perception. Moreover, though Sellars is clearly opposed to the view that perceptual experience cannot provide justification for beliefs about perceived objects, I argue that Sellars has failed to shake the intuitive plausibility of that view. (shrink)

P. T. Geach, notoriously, holds the Relative Identity Thesis, according to which a meaningful judgment of identity is always, implicitly or explicitly, relative to some general term. ‘The same’ is a fragmentary expression, and has no significance unless we say or mean ‘the same X’, where ‘X’ represents a general term (what Frege calls a Begriffswort or Begriffsausdruck). (P. T. Geach, Mental Acts (London: Routledge and Kegan Paul, 1957), p. 69. I maintain that it makes no sense to judge whether (...) things are ‘the same’, or remain ‘the same’, unless we add or understand some general term - ‘the same F’. (P. T. Geach, Reference and Generality, third Edition (Ithaca, N.Y.: Cornell University Press, 1980), pp. 63f. I am arguing for the thesis that identity is relative. When one says ‘x is identical with y’, this, I hold, is an incomplete expression; it is short for ‘x is the same A as y’, where ‘A’ represents some count noun understood from the context of utterance - or else, it is just a vague expression of a half-formed thought. (P. T. Geach, ‘Identity,’ Review of Metaphysics 21 (1967-8), p. 3.) One of the ways Geach seeks to support this is by tying it to the well nigh universally admired Fregean thesis about cardinality. (shrink)

Recent interdisciplinary research in visual stylometry employs digital image analysis algorithms to study the image features and statistics that underwrite our experience of artworks. This research brings psychologists, computer scientists, and art historians together to explore the formal image qualities that define artistic style. We introduce the field of visual stylometry, discuss it's implications for our understanding of both the nature of categories of art and the role artistic style plays in our engagement with artworks. We then discuss the (...) results of our research employing entropy analyses and discrete tonal analyses to classify paintings by school (Impressionism/Hudson River School) and medium/technique (Wyeth/egg-tempura/watercolor). (shrink)

It is no secret that scientists argue. They argue about theories. But even more, they argue about the evidence for theories. Is the evidence itself trustworthy? This is a bit surprising from the perspective of traditional empiricist accounts of scientific methodology according to which the evidence for scientific theories stems from observation, especially observation with the naked eye. These accounts portray the testing of scientific theories as a matter of comparing the predictions of the theory with the data (...) generated by these observations, which are taken to provide an objective link to reality. (shrink)

Neuroscience of art might give us traction with aesthetic issues. However it can be seen to have trouble modeling the artistically salient semantic properties of artworks. So if meaning really matters, and it does, even in aesthetic contexts, the prospects for this nascent field are dim. The issue boils down to a question of whether or not we can get a grip on the kinds of constraints present and available to guide interpretive behavior in our engagement with works (...) of fine art. I argue that biased competition models of selective attention can be used to solve this problem, generalize to the affective content of our responses to artworks, and so show that research in cognitive neuroscience is germane to the types of problems of interest within the philosophy of art. (shrink)

Empirical aesthetics and philosophy of art are often framed as disciplines in conflict with one another. Psychologists working in empirical aesthetics argue that philosophical theories of art reflect the evaluative biases of critics and experts and so fail as objective accounts of artistic practice. Philosophers argue that the causal-psychological explanations appealed to in empirical aesthetics can not account for the role normative conventions play in appreciative judgements, and so fail to differentiate artworks and artistic practices from ordinary artifacts and (...) behaviors. I argue that this putative conflict can be dissolved by paying attention to the productive role shared normative conventions play in our perceptual engagement with works of fine art. I sketch a hierarchical theory derived from a biased competition account of selective attention that can be used to model these cognitive influences in our engagement with artworks. (shrink)

It has been argued that motion picture theory, or as we prefer to call it theory of the moving image, is too abstract, generalized , or theoretical to be of use for movie makers and critics interested in the production and analysis of particular films. We apply the framework and resources of Cognitivist Film Theory to explain some of the particular ways that Alfred Hitchcock's Rear Window works to engage audiences with an eye to allaying the skeptics doubts.

Visual stylometry is a new interdisciplinary research field that sits at the junction of digital humanities, empirical aesthetics, and computer science. Research in this field employs image analysis algorithms to study key aspects of artistic style. The nature of artistic style is the subject of ongoing debate within art history and philosophy of art. Computational and statistical methods in visual stylometry allow researchers to quantify and compare aspects of artistic style over the course of the career of an individual artist, (...) among artists who share in a common artistic style, and across different schools of art. The results of these studies provide clues to the image features that enable viewers to categorize works as belonging to different artistic styles. -/- We have developed a system that can act as an open access laboratory for visual stylometry. This approach is powerful enough to support advanced academic research in computer science, cognitive science, art history, and the philosophy of art while at the same time providing a user friendly interface accessible to students and researchers with little or no computer science background. Our framework is designed around the idea of scientific workflows. Scientific workflows allow users to build executable analyses in the same way they would draw a flowchart, by dragging objects representing data sets and image analysis procedures onto the work-space and drawing links between them. These workflows and data sets can be exported using open standards as web objects that can then be shared or modified by other users. -/- Our platform, Workflows for the Analysis of Images in Visual Stylometry (WAIVS), has the potential to promote computational literacy and data analytic skills among humanities students, to introduce science students to research in art and the humanities, to explore the nature of artistic style and its role in our understanding of artwork, and to help researchers in cognitive science understand how viewers perceptually categorize, recognize, and otherwise engage with artworks. (shrink)

Psychological studies (Proffitt, 2006) have demonstrated that what one sees is influenced by one's goals, physiological state, and emotions. These studies demonstrate that there is a positive correlation between the physical demands (energetic cost) and perceived valence (emotional cost) of a task and the appearance of slant and egocentric distance in the environment. The studies are compelling. However, one can question whether their results are due to changes in the way participants perceived the orientation and extent of their environment or (...) are instead artifacts of the way they judged the difficulty of expected tasks in particular contexts. We asked participants to sketch the rough spatial layout of several paintings as accurately as possible. In this type of task participants continuously compare what they have drawn against what they perceive. Therefore, participants performance can be interpreted as a means to directly measure of the spatial metric of perception. We chose two paintings by Andrew Wyeth as target images: “Christina's World” and “Winter, 1946.” Participants were asked to draw the spatial arrangement of the key features of the scene depicted in the target painting twice: prior to being presented with biographical information about the subject of the painting condition; and then again after being told the biographical information that altered the perceived task demands or emotional valence of the events they depicted. We predicted that participants' drawings would differ in the two conditions indicating that: change in the energetic or emotional costs of the depicted action would cause them to perceive the depicted orientation of hills as steeper and distance between key landmarks as longer. Results from the energetic cost condition support this prediction. We will discuss our results and the suggestion that these types of effects reflect a role for motor simulation in perception (Witt, 2005). (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)

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)

Recent findings in affective and cognitive neuroscience underscore the fact that traumatic memories are embodied and inextricably integrated with the affective dimensions of associated emotional responses. These findings can be used to clarify, and in some cases challenge, traditional claims about the unrepresentability of traumatic experience that have been central to trauma literary studies. The cognitive and affective dimensions experience and memory are closely integrated. Recollection is always an attenuated form of embodied reenactment. Further, situation models for narrative comprehension (...) show us that these same neurobiological processes that underwrite narrative understanding. This, in turn suggests that literary texts can be used as a resource for representing, reenacting, and understanding traumatic experience and might serve as external regulatory resources for reenacting, shaping, and thereby coping with traumatic memory. (shrink)

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)

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)

There is a standard skeptical concern within philosophy of art that causal explanations in psychology and neuroscience apply equally to our engagement with art that is done well and art that is done poorly and so do not contribute to our understanding of the normative dimension of artistic appreciation. This skeptical concern is often used to challenge the relevance of psychology and neuroscience to our understanding of art. I sketch a crossmodal model for perception which demonstrates that those affective (...) processes responsible for encoding the biological and instrumental value of a stimulus play a critical productive role in perceptual processing. I argue that the ensuing model for affective perception dissolves these skeptical philosophical concerns. (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)

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)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 147 The Godly Image: Christ and Salvation in Catholic Thought from Anselm to Aquinas. By ROMANUS CESSARIO, O.P. Studies in historical theology. v. 6. Petersham, Mass.: St. Bede's Publications, 1990. Pp. xxiv + 214. $14.95 (paper). The Godly Image presents a retouched version of the author's dissertation, first published in 1982 as Christian Satisfaction in Aquinas: Towards a Personalist Understanding (Washington, DC: University Press of America). Seeking (...) a broader audience, the author has dropped the dissertation's numerous Latin footnotes, shortened and enlivened the chapter titles, and streamlined some of his arguments (e.g., pp. 9395 ). He has as well corrected (e.g., on Pannenberg, p. xxii; on Anselm, p. 157) or toned down (e.g., the description of monastic theology, p. 1) earlier statements. Reference to the possibility that Aquinas suffered a nervous breakdown disappears (p. 18). Still, the work remains substantially the same, reproducing even some typos (e.g., William of St. Armour [sic], p. 3) from the original. The new subtitle, Christ and Salvation in Catholic Thought from Anselm to Aquinas, is unfortunate. First, it leads one to expect a survey of the major soteriological positions articulated in the period between the two, hut such is not forthcoming. The work remains what the original title indicated, a study in the thought of Aquinas. Second, in that work Anselm plays hut a perfunctory role, serving as the foil from whose mercantile model (p. 73) or juridical mentality (p. 91) Thomas can advance to a more appropriately interpersonal grasp of the mode of our salvation. This reading of Anselm, however, leaves him in the hands of liberal Protestant historians of doctrine of the nineteenth century, and, as the bibliography indicates, it ignores more recent literature which rightly stresses the metaphysical and religious depth of Anselm's key concept of iustitia. For a precise rendering of the relation between Anselm and Aquinas, one may wish to place greater emphasis on ST III, q.14, a.I, ad 1. In that text Aquinas accomplishes two things. First, he integrates Anselm's concept of satis· faction with the traditional religious insight that, in some sense, Christ suffered what sinners deserve to suffer. At the same time he deepens the concept by rendering explicit the place of love and obedience as the formal element in satisfaction and thus rejoins Anselm in rejecting any strict notion of penal substitution. These reservations aside, the author's thorough, comprehensive, and competent investigation into Aquinas fills a lacuna in the history of soteriology, a lacuna, one regrets to say, still left open by the work of his immediate predecessor, B. Catao. At the same time the scope 148 BOOK REVIEWS of the author's work offers a further and important contribution. By researching Thomas's thought on satisfaction in the context of penance as well as soteriology, the author manages to suggest, and explicitly, that the generative matrix for Thomas's theoretic work in both areas lies in the cruciform dynamics of Christian conversion, the life of grace. With this insight he opens a door from historical theology to a contemporary systematics. Catholic University of America Washington, D.C. WILLIAM P. LOEWE Free Will and the Christian Faith. By W. S. ANGLIN. Oxford: Clarendon Press, 1990. Pp. vii + 218. $55.00 (cloth). W. S. Anglin, a Post-Doctoral Research Fellow in Mathematics at McGill University, has produced a highly compact and compelling volume which attempts in just 218 pages to prove God's existence, to argue for personal immortality, to defend the coherence of theism against the problem of evil, to provide cogent analyses of both omnipotence and omniscience, and to examine criteria for distinguishing divine revelation from other forms of communication. The thread holding these rather motley swatches of cloth together is the author's concentration on libertarian freedom which weaves throughout the above issues in one way or another. It shows up in the expected places (e.g., in the so-called 'free will defense' of the problem of evil) but also in places hitherto unexpected (Anglin nicely argues that if humans are truly free in the libertarian sense, then it is appropriate and necessary that the Scriptures take the... (shrink)

On the critical side it is argued that, contrary to a widespread view, the explanation of particular facts does not play a central role in pure science and hence that philosophers of science are misguided in supposing that the understanding of such explanations is one of the central tasks of the philosophy of science. It is suggested that the view being attacked may stem in part from an impression that the establishing of a general law is tantamount to the explanation (...) of particular facts that "fall under" the law. This suggestion effects a bridge to the more positive part of the paper, which consists of an exploration of the complexities exhibited by the relation between the two activities. More specifically, I point out a number of disabilities, any one of which could prevent us from being able to explain particular facts that fall under a given law even after having established the law. Some of these have to do with the form of the law, and some have to do with our powers of detection vis-a-vis the particular facts in question. The former sort have to do with the ways in which laws may deviate from the strict-necessary-and-sufficient-condition ideal. The latter include the following points. (1) The individual explanatory factors may lie beyond our present powers of detection. (2) The complexity of such factors may be too great for us to be able to interrelate them. (3) We may be unable to apply concepts used in the law to facts in this area (although they are in fact applicable). (shrink)

This paper defends the view that a belief to the effect that the believer is currently in some conscious state is "self-Warranted," in the sense that what warrants it is simply its being a belief of that sort. This position is compared with other views as to the epistemic status of such beliefs--That they are warranted by their truth and that they are warranted by an immediate awareness of their object. In the course of the discussion, Various modes of (...) immediate justification and various types of "epistemic immunities" are distinguished. It is contended that principles of justification are to be evaluated in terms of whether the beliefs they approve are likely to be correct. (shrink)

Since the publication of Gilbert Ryle's book, The Concept of Mind, the distinction between dispositions and occurrences has loomed large in the philosophy of mind. In that enormously influential book Ryle set out to show that much of what passes as mental is best construed as dispositional in character rather than, as traditionally supposed, being made up of private “ghostly” occurrences, ‘happenings, or “episodes.” Many philosophers, including some of Ryle's ablest critics, have accepted the terms of Ryle's contentions. They have (...) either agreed, with respect to certain kinds of mental states, that they are not occurrent because dispositional, or have undertaken to vindicate their occurrent status by showing Ryle's dispositional account to be inadequate. Thus U. T. Place in his essay, “The Concept of Heed,” while agreeing with Ryle's dispositional account of belief; memory, intention, and desire, rejects a similar account of heeding, attention, and consciousness, and defends the traditional account according to which they are construed as distinctive sorts of internal activity. And Terence Penelhum, in “The Logic of Pleasure,” defends an “episode-view” of pleasure as against Ryle's dispositional account. (shrink)

New research tools such as PET can produce dramatic results. But they can also produce dramatic artifacts. Why is PET to be trusted? We examine both the rationale that justifies interpreting PET as measuring brain activity and the strategies for interpreting PET results functionally. We show that functional ascriptions with PET make important assumptions and depend critically on relating PET results to those secured through other research techniques.

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)

This is a response to Hick’s comments on my approach to the problem of religious diversity in Perceiving God. Before unearthing the bones I have to pick with him, let me fully acknowledge that I have not provided a fully satisfactory solution to the problem. At most I have done the best that can be done given the constraints within which I was working. But this best, if such it be, is not as bad as Hick makes it appear. (...) To show this I need to make several corrections in Hick’s depiction of the situation. (shrink)

This book is the culmination of almost forty years of writing and thinking about speech acts and the use theory of meaning. Chapter 1 sets out and defends a version of the Austin-Searle trichotomy of a sentential act, i.e., uttering a sentence or surrogate, an illocutionary act, i.e., uttering a sentence with a certain "content" as reported by indirect speech, and a perlocutionary act, i.e., producing an effect on an audience by an utterance. Chapter 2 poses the question: what (...) condition C will turn an SA into an IA: F? Perhaps adding a perlocutionary intention to the effect that "U asserts that p only if U utters p with the intention of getting H to believe that p" will meet condition C. Alston argues, contra Schiffer, that it will not. Chapter 3 objects to Searle's analysis of sincere and non-defective promising, on the one hand, because there are too many ways a promise can be defective and, on the other hand, because some of Searle's conditions are not necessary for promising simpliciter. Alston proposes. (shrink)

Many studies of language, whether in philosophy, linguistics, or psychology, have focused on highly developed human languages. In their highly developed forms, such as are employed in scientific discourse, languages have a unique set of properties that have been the focus of much attention. For example, descriptive sentences in a language have the property of being "true" or "false," and words of a language have senses and referents. Sentences in a language are structured in accord with complex syntactic rules. (...) Theorists focusing on language are naturally led to ask questions such as what constitutes the meanings of words and sentences and how are the principles of syntax encoded in the heads of language users. While there is an important function for inquiries into the highly developed forms of these cultural products (Abrahamsen, 1987), such a focus can be quite misleading when we want to explain how these products have arisen or the human capacity to use language. The problem is that focusing on its most developed forms makes linguistic ability seem to be a _sui generis_ phenomenon, not related to, and hence not explicable in terms of other cognitive capacities. Chomsky's (1980) postulation of a specific language module equipped with specialized resources needed to process language and possessed only by hum ans is not a surprising result. (shrink)

Evolutionary theory is becoming an all-encompassing form of explanation in many branches of philosophy. However, emergence theory uses the concept of self-organization to support yet alter traditional evolutionary explanation. Biologist Stuart Kauffman suggests that the new science will need to tell stories, not simply as a heuristic device but as part of its fundamental task. This claim is reminiscent of C. S. Peirce’s criticism of the doctrine of necessity. Peirce’s suggestions reference Hegel, and this essay draws out this Hegelian background. (...) In particular, it addresses the question of subjectivity and issues some Hegelian reminders so that such evolutionary and emergent theories will consider the implication of this research program on philosophy of mind. The essay focuses primarily on two post-Kantian, neo-Hegelian thinkers in contemporary philosophy who deal with this problem: John McDowell and Robert Brandom. (shrink)

Associated with each first-order theory is a Boolean algebra of sentences and a Boolean space of models. Homomorphisms between the sentence algebras correspond to continuous maps between the model spaces. To what do recursive homomorphisms correspond? We introduce axiomatizable maps as the appropriate dual. For these maps we prove a Cantor-Bernstein theorem. Duality and the Cantor-Bernstein theorem are used to show that the Boolean sentence algebras of any two undecidable languages or of any two functional languages are recursively isomorphic (...) where a language is undecidable iff it has at least one operation or relation symbol of two or more places or at least two unary operation symbols, and a language is functional iff it has exactly one unary operation symbol and all other symbols are for unary relations, constants, or propositions. (shrink)

The ability to reason about how things were made is a pervasive aspect of how humans make sense of physical objects. Such reasoning is useful for a range of everyday tasks, from assembling a piece of furniture to making a sandwich and knitting a sweater. What enables people to reason in this way even about novel objects, and how do people draw upon prior experience with an object to continually refine their understanding of how to create it? To explore (...) these questions, we developed a virtual task environment to investigate how people come up with step‐by‐step procedures for recreating block towers whose composition was not readily apparent, and analyzed how the procedures they used to build them changed across repeated attempts. Specifically, participants (N = 105) viewed 2D silhouettes of eight unique block towers in a virtual environment simulating rigid‐body physics, and aimed to reconstruct each one in less than 60 s. We found that people built each tower more accurately and quickly across repeated attempts, and that this improvement reflected both group‐level convergence upon a tiny fraction of all possible viable procedures, as well as error‐dependent updating across successive attempts by the same individual. Taken together, our study presents a scalable approach to measuring consistency and variation in how people infer solutions to physical assembly problems. (shrink)

An increasing number of HIV-infected patients require surgical care. Many surgeons, regardless of their venue of practice, would prefer not to treat HIV-infected patients.1 The reasons for this attitude differ from individual to individual but include the fear of contracting an incurable fatal illness, a desire to avoid interaction with homosexuals and intravenous drug users, and fears that occupationally acquired HIV infection would result in restriction of clinical privileges and loss of income.2,3 At the same time, many individuals, institutions, (...) and professional organizations have affirmed the obligation of all healthcare workers, including surgeons, to care for patients without regard to their HIV status.4-6 This article explores the nature of this obligation from the perspective of a clinical surgeon working in an inner city hospital. (shrink)

In this article, the author describes ethical decision-making in unique circumstances. A dichotomy exists between the dual roles of nurse and disaster manager in a wartime set ting. The circumstances of the situation had never been faced before and no precedents existed for the type of decisions being made. Clearly, professional codes of conduct existed along with international conventions with reference to war. The circumstances required the author to challenge the concepts of teleology and deon tology in a (...) search for the most fitting answers to a unique problem. His aim was to try to create the greatest good out of an impossible situation. The author reflects on his actions in the light of ethical thinking and considers whether his decisions were right. (shrink)

For many people, consciousness is one of the defining characteristics of mental states. Thus, it is quite surprising that consciousness has, until quite recently, had very little role to play in the cognitive sciences. Three very popular multi-authored overviews of cognitive science, Stillings et al. [33], Posner [26], and Osherson et al. [25], do not have a single reference to consciousness in their indexes. One reason this seems surprising is that the cognitive revolution was, in large part, a repudiation of (...) behaviorism's proscription against appealing to inner mental events. When researchers turned to consider inner mental events, one might have expected them to turn to conscious states of mind. But in fact the appeals were to postulated inner events of information processing. The model for many researchers of such information processing is the kind of transformation of symbolic structures that occurs in a digital computer. By positing procedures for performing such transformation of incoming information, cognitive scientists could hope to account for the performance of cognitive agents. Artificial intelligence, as a central discipline of cognitive science, has seemed to impose some of the toughest tests on the ability to develop information processing accounts of cognition: it required its researchers to develop running programs whose performance one could compare with that of our usual standard for cognitive agents, human beings. As a result of this focus, for AI researchers to succeed, at least in their primary task, they did not need to attend to consciousness; they simply had to design programs that behaved appropriately (no small task in itself!). This is not to say that conscious was totally ignored by artificial intelligence researchers. Some aspect of our conscious experience seemed critical to the success of any information processing model. For example, conscious agents exhibit selective attention. Some information received through their senses is attended to; much else is ignored.. (shrink)

Philosophical reflections on the environment began with early philosophers' invocation of a cosmology that mixed natural and supernatural phenomena. Today, the central philosophical problem posed by the environment involves not what it can teach us about ourselves and our place in the cosmic order but rather how we can understand its workings in order to make better decisions about our own conduct regarding it. The resulting inquiry spans different areas of contemporary philosophy, many of which are represented by the (...) fifteen original essays in this volume. The contributors first consider conceptual problems generated by rapid advances in biology and ecology, examining such topics as ecological communities, adaptation, and scientific consensus. The contributors then turn to epistemic and axiological issues, first considering philosophical aspects of environmental decision making and then assessing particular environmental policies, including reparations, remediation, and nuclear power, from a normative perspective. (shrink)

This fundamental thesis of the essential interconnectedness of particular occasions is reiterated by Whitehead in a variety of formulations throughout his later works, all expressing the same basic conviction. To say that all the relations which an event has are internal to it is also to say that it is essential to it that the other entities which form the opposite termini of these relations be just as they are; for unless the other relata were just as they are, the (...) event could not have just the relationships it has. Thus Whitehead can express the doctrine of internal relations by saying that every actual entity requires all other actualities in order to be what it is. "Every actual occasion exhibits itself as a process, it is a becomingness. In so disclosing itself, it places itself as one among a multiplicity of other occasions, without which it could not be itself." The same truth can be stated in another way by the concept of relevance. "It will be presupposed that all entities or factors in the universe are essen- tially relevant to each other's existence." In other words, if we take any given actuality, all other entities in the universe are essentially relevant to it in the sense that since it essentially involves its relations to them, it could not be, nor be fully understood, without them. Finally, "an event has to do with all that there is, and in particular with all other events"; "has to do" in the sense that its transactions or dealings with other things are constitutive of its own nature. (shrink)

The notion that the mind is a physical symbol system (Newell) with a determinate functional architecture (Pylyshyn) provides a compelling conception of the relation of cognitive inquiry to neuroscience inquiry: cognitive inquiry explores the activity within the symbol system while neuroscience explains how the symbol system is realized in the brain. However, the view the the mind is a physical symbol system is being challenged today by researchers in artificial intelligence who propose that the mind is a connectionist system (...) and not simply a rule processing system. I describe this challenge and offer evidence that indicates the challenge may be well motivated. I then turn to the question of how such changes in the conception of the activity of the mind will affect our understanding of the relation of neuroscience to cognitive inquiry and sketch a framework in which the cognitive system consists of several levels and in which both neuroscience and cognitive science can make contributions at several of these levels. (shrink)