Cognitive science has always included multiple methodologies and theoretical commitments. The philosophy of cognitive science should embrace, or at least acknowledge, this diversity. Bechtel’s (2009a) proposed philosophy of cognitive science, however, applies only to representationalist and mechanist cognitive science, ignoring the substantial minority of dynamically oriented cognitive scientists. As an example of nonrepresentational, dynamical cognitive science, we describe strong anticipation as a model for circadian systems (Stepp & Turvey, 2009). We then propose a philosophy of science appropriate to nonrepresentational, (...) dynamical cognitive science. (shrink)

Author comments on the changes in his approach to questions concerning action and perception, current and future status of ecological psychology, as well as specificity of human nature.

Ontological and methodological constraints on a theory of cognition that would generalize across species are identified. Within these constraints, ecological arguments for animal-environment mutuality and reciprocity and the necessary specificity of structured energy distributions to environmental facts are developed as counterpoints to the classical doctrines of animal-environment dualism and intractable nonspecificity. Implications of and for a cognitive theory consistent with Gibson's programme of ecological psychology are identified and contrasted with contemporary cognitivism.

In his article “Notes on the Sight Gag” from 1991, the philosopher Noël Carroll proposed a taxonomy of sight gags that recur throughout the genre of comedian comedy in cinema. This article revisits and augments Carroll’s taxonomy by analyzing the sight gags found in the films of Jacques Tati. Tati worked in a very different context than that of the silent Hollywood filmmakers from whose comic films Carroll largely derives his categories. He began making films in the sound era, and (...) five of his six feature films were made in color. As a French filmmaker, he also sought to adapt the genre of comedian comedy in cinema to his culturally specific concerns. This article shows that he drew on at least three of the types of sight gag identified by Carroll. But he modified some of them and innovated several other kinds. (shrink)