Christiansen & Chater propose that language comprehenders must immediately compress perceptual data by “chunking” them into higher-level categories. Effective language understanding, however, requires maintaining perceptual information long enough to integrate it with downstream cues. Indeed, recent results suggest comprehenders do this. Although cognitive systems are undoubtedly limited, frameworks that do not take into account the tasks that these systems evolved to solve risk missing important insights.

When we read, we do not fixate on each word! How does that work? By deep theory those sorts of decisions must be the result of complex decisions involving the specific “word,” the linguistic context in which it appears, and visual information. But is reading really all that difficult? After all, simple heuristics models of reading seem to do sort of okay by only considering the additive effects of word and context. Entropy measures do well at predicting word “skipping” and (...) suggest that “word frequency” may play the dominant role in the “decision” to skip or not skip! (shrink)

The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.

The last twenty years or so have seen a surge of interest in the philosophy of music. However there is comparatively little philosophical literature devoted specifically to songs, singing and vocal music in general. This new collection of essays on the philosophical aspects of song and singing includes articles on the relationship between words and music in songs, the ontology of songs and recordings, meaning in songs, the metaphysics of vocal music in opera and the movies, and the ethical challenges (...) raised in song performance. The essays discuss a large range of examples, including rock, lieder, jazz songs, blues, doo wop, and rap. New essays by leading philosophers of art, including Peter Kivy (on "realistic song" in film), Jerrold Levinson (on jazz singing), Lee B. Brown (on the "minstrel hypothesis" in popular music), and Ted Gracyk (on linguistic pragmatics and song meaning). Papers that offer ground-breaking theories of the appreciation of rock recordings, the ethical implications of popular songs, the ontology of ephemeral artworks, the ontological status of cover versions, and of how a genre of popular music can both express and be a function of its social context papers that challenge existing accounts of much-debated topics, including operatic metaphysics and of the ontology of recorded music. Interdisciplinary essays that cut across aesthetics, philosophy of music, cultural music studies and musicology. Essays that are clearly written and engaging. (shrink)

This collection of newly published essays examines our relationship to physical objects that invoke, commemorate, and honor the past. The recent destruction of cultural heritage in war and controversies over Civil War monuments in the US have foregrounded the importance of artifacts that embody history. The book invites us to ask: How do memorials convey their meanings? What is our responsibility for the preservation or reconstruction of historically significant structures? How should we respond when the public display of a monument (...) divides a community? This anthology includes coverage of the destruction of Palmyra and the Bamiyan Buddhas, the loss of cultural heritage through war and natural disasters, the explosive controversies surrounding Confederate-era monuments, and the decay of industry in the U.S. Rust Belt. The authors consider issues of preservation and reconstruction, the nature of ruins, the aesthetic and ethical values of memorials, and the relationship of cultural memory to material artifacts that remain from the past. Written by a leading group of philosophers, art historians, and archeologists, the 23 chapters cover monuments and memorials from Dubai to Detroit, from the instant destruction of Hiroshima to the gradual sinking of Venice. (shrink)

Much work on the sense of agency has focused either on abnormal cases, such as delusions of control, or on simple action tasks in the laboratory. Few studies address the nature of the sense of agency in complex natural settings, or the effect of skill on the sense of agency. Working from 2 case studies of mountain bike riding, we argue that the sense of agency in high-skill individuals incorporates awareness of multiple causal influences on action outcomes. This allows fine-grained (...) differentiation of the contributions of self and external factors to action outcomes. We further argue that the sense of agency incorporates prospective awareness of actions that are possible in a situation and awareness of the limits of control. These forms of sense of agency enable highly flexible, context-sensitive strategic control, and are likely to contribute to high interindividual variability in responses to complex tasks. (shrink)

ABSTRACTIn keeping with the dominant view that skills are largely automatic, the standard view of memory systems distinguishes between a representational declarative system associated with cognitive processes and a performance-based procedural system. The procedural system is thought to be largely responsible for the performance of well-learned skilled actions. Here we argue that most skills do not fully automate, which entails that the declarative system should make a substantial contribution to skilled performance. To support this view, we review evidence showing that (...) the declarative system does indeed play a number of roles in skilled action. (shrink)

In emphasising improvement, smooth coping and success over variability and regression, skill theory has overlooked the processes performers at all levels develop and rely on for managing bodily and affective fluctuations, and their impact on skilled performance. I argue that responding to the instability and variability of unique bodily capacities is a vital feature of skilled action processes. I suggest that embodied intelligence – a term I use to describe a set of abilities to perceptively interpret and make use of (...) information from body, mind, environment and task requirements, and to modulate one’s focus, awareness and action strategies accordingly – is critical for performing well-learned skills in vulnerable situations. It is critical for staying safe. To investigate these components of skilled action, I employ a cognitive ethnographic method, combined with apprenticeship on the static trapeze, to produce two ‘experience near’ case studies. These document in-situ experiences of awareness, self-regulation and embodied intelligence. Both reveal strong connections between a reflective awareness of bodily vulnerability and variability, and self-regulatory processes – specifically, the down- and up-regulation of anxiety. I then reflect on these case studies in relation to a prospective sense of agency, the awareness of control acts that may lead to performance outcomes. With increased clarity on these features of embodied intelligence and attention during action, other researchers can build on this study to further probe and map the maintenance and functions of embodied intelligence in dealing with the instability of skills. (shrink)

The topic of this article is the relationship of street art to both the street and the artworld. I take it as significant that philosophers have turned their attention to “street art” and not, say, “urban outdoor art” or “site-specific art in urban settings.” The “street” in street art seems to imply more than a location or geographic modifier. I consider the further significance of the “street” in street art, and the view, argued or assumed, of the street when philosophers (...) discuss street art. My second target in this article is what I have called the “discontinuity thesis.” This is the idea, defended or assumed in some of the most important philosophical writing about street art, that street art represents a radical break with the artworld and is “antithetical” to it. I argue that the discontinuity thesis is mistaken, and that to understand the larger institutional context of street art we must examine the sociology of artworlds. Street art has followed a familiar process and pioneering street artists are best seen as “mavericks” in Howard Becker’s sense. I argue that seeing street artists in this way can help better understand and appreciate their work. (shrink)

Beliefs about hypothetical situations need to be 'quarantined' from factual representations, so that our inference processes do not make false conclusions about the real world. Nichols argued for the existence of a place where these special beliefs are kept: the pretence box. We show that this theory has a number of drawbacks, including its inability to account for simultaneously keeping track of multiple imagined worlds. We offer an explanation that remedies these problems: beliefs of content imagination each belong to some (...) number of microtheories; systems of ideas tagged as being true or false only in certain contexts. (shrink)

In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated (...) solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)

Cutting-edge scholarship in performance studies, cognitive science, sociology, literature, psychology, philosophy and sport science is brought together to ask: What do individuals bring to and do in collaborative embodied performance? How do group members with distinct capacities complement each other in skilled action? Innovative methodological approaches are applied to detailed case studies from martial arts, tango, social interaction, English Restoration Theatre, Body Weather, traditional and digitally-informed experiences of music composition, and failing at handstands. Each investigation exposes performance and theory as (...) mutually revealing, informative and captivating. Short chapters fall into thematic clusters exploring embodied coordination, cognition, and collaboration, followed by commentaries from leading scholars in performance studies and cognitive science. Each brings to light different facets of the performance ecology present in the collaborative moment, equipping performance makers, students and researchers with theoretical, methodological and practical inspiration to delve deeper into their own embodied practices and critical thinking. (shrink)

This collection of newly published essays examines our relationship to physical objects that invoke, commemorate, and honor the past. The recent destruction of cultural heritage in war and controversies over Civil War monuments in the US have foregrounded the importance of artifacts that embody history. The book invites us to ask: How do memorials convey their meanings? What is our responsibility for the preservation or reconstruction of historically significant structures? How should we respond when the public display of a monument (...) divides a community? This anthology includes coverage of the destruction of Palmyra and the Bamiyan Buddhas, the loss of cultural heritage through war and natural disasters, the explosive controversies surrounding Confederate-era monuments, and the decay of industry in the U.S. Rust Belt. The authors consider issues of preservation and reconstruction, the nature of ruins, the aesthetic and ethical values of memorials, and the relationship of cultural memory to material artifacts that remain from the past. Written by a leading group of philosophers, art historians, and archeologists, the 23 chapters cover monuments and memorials from Dubai to Detroit, from the instant destruction of Hiroshima to the gradual sinking of Venice. (shrink)

In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated (...) solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)

“Oversinging” is singing that is excessive in one or more dimensions: too loud, too ornamented, too melismatic, too expressive, or employing too much vibrato. I begin with a characterization of oversinging and establish a context for discussion (Section I). Next I consider performances by Christina Aguilera and Michael Bolton as examples (Section II). In light of these examples, I consider how oversinging might be both aesthetically and morally problematic (Section III). Along the way I raise concerns about authenticity and sincerity (...) (Section IV). Finally (Section V), I consider a “paradox” of oversinging involving the role of skill in artistic performance. My discussion touches on the aesthetics of performance, aesthetic judgment, virtuosity, and taste. (shrink)

We are printing, by kind permission of the Law Commission, two sections of the report of the Law Commission on injuries to unborn children. This report was the result of a request to the Law Commission by the Lord Chancellor at the time (Lord Hailsham of Saint Marylebone) to advise on `what the nature and extent of civil liability for antenatal injury should be'. The Law Commission followed its usual practice in such circumstances of consulting various bodies and obtaining expert (...) advice on the subject and then embodying the results in a working paper (Working Paper No. 47 - injuries to unborn children) published on 19 January 1973, which preceded their report (Cmnd 5709). Meanwhile a Royal Commission is considering much wider issues of civil liability for injury (including antenatal injury) but the terms of reference for the Law Commission were much narrower and confined to the position of children injured before birth. In the section relating to the present law the report makes it clear that it is probable that liability under the common law already exists. The Scottish Law Commission has also issued a report (Cmnd 5371). They were given different terms of reference and came to somewhat different conclusions. We are printing from this long report the paragraphs discussing the medical background and the summary of recommendations. As will be evident on reading the paragraphs on the medical background to injuries to the unborn child, events are moving very rapidly, particularly in the study of congenital defects and the effects of drugs but the problems of proof present great difficulty. Other causes of injury to the unborn child are better known to the general public: for example, those following the illness, infection and disease of the mother during pregnancy, injury caused in attempted termination of pregnancy and the risks resulting from the mother's condition. The summary of the recommendations sets out very clearly the legal position of the unborn child, as the Law Commission sees it, arising from injury before birth, the final conclusion being that `legislation is desirable'. These extracts from the report, apart from their intrinsic interest, lead on to the paper by Mr Kennedy and Dr Edwards in which they set out their criticisms of it, and provide quick references to the original document. (shrink)

If philosophers held popularity contests, David Hume would be a perennial winner. Witty, a bon vivant, and champion of reason over bigotry and superstition, it is not surprising that many contemporary thinkers want to recruit him as an ally or claim his views as precursors to their own. In the debate over the moral content of artworks and its possible relevance for artistic and aesthetic value, the group whose views are known variously as “ethicism,” “moralism,” or “moderate moralism” has claimed (...) Hume as one of its own.1 Very briefly, “moderate moralism” is the view that sometimes the moral content of artworks must be taken into account when assessing artistic or aesthetic value. The moralists’ presumed . (shrink)

Although introns in 5′‐ and 3′‐untranslated regions (UTRs) are found in many protein coding genes, rarely are they considered distinctive entities with specific functions. Indeed, mammalian transcripts with 3′‐UTR introns are often assumed nonfunctional because they are subject to elimination by nonsense‐mediated decay (NMD). Nonetheless, recent findings indicate that 5′‐ and 3′‐UTR intron status is of significant functional consequence for the regulation of mammalian genes. Therefore these features should be ignored no longer.

Objects play a prominent role in art history. Historians reflect on exemplary works and what they reveal. They may disagree as to which objects best exemplify a.

So begins "For Anne Gregory," published by W. B. Yeats in 1933. It is surely one of his most charming poems.1 The poem's lilting rhythm and affectionate tone effectively soften—even disguise—what is arguably a dark and dismaying message. Anne is destined to be loved not for herself alone, but for an accidental physical attribute—her blond hair. Why do I claim that the poem's message is dark? Why should it dismay Anne if she is loved for the beauty of her hair? (...) Is that not better, after all, than not being loved in the first place? And what would it be to love Anne for herself "alone"? Love Anne for her sweet disposition; for her ability always to say the right thing; for her kindness; but for her yellow hair? .. (shrink)

We investigate flexibility and problem solving in skilled action. We conducted a field study of mountain bike riding that required a learner rider to cope with major changes in technique and equipment. Our results indicate that relatively inexperienced individuals can be capable of fairly complex 'on-the-fly' problem solving which allows them to cope with new conditions. This problem solving is hard to explain for classical theories of skill because the adjustments are too large to be achieved by automatic mechanisms and (...) too complex and rapid to be achieved by cognitive processes as they are usually understood. A recent theory, Mesh, can explain these results because it posits that skill-specific cognitive abilities develop during skill learning and that control typically involves an interplay between cognitive and automatic mechanisms. Here we develop Mesh further, providing a detailed explanation for these problem solving abilities. We argue that causal representation, metacognitive awareness and other forms of performance awareness combine in the formulation and control of action strategies. We also argue that the structure of control present in this case is inconsistent with Bratman's model of intentions, and that, in the face of high uncertainty and risk, intentions can be much more labile than Bratman recognises. In addition, we found limitations and flaws in problem solving which illuminate the representations involved. Finally, we highlight the crucial role of social and cultural learning in the development of complex skills. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.1 (2003) 22-38 [Access article in PDF] Descartes's Rhetoric:Roads, Foundations, and Difficulties in the Method Jeanette Bicknell Descartes's Discours de la méthode is an extremely rich text for anyone interested in the rhetorical and literary aspects of philosophical works, as well as for those interested in the history of scientific discourse. 1 Commentators have tended to stress the inclusive and possibly emancipatory aspects of the (...) text: Descartes's use of the vernacular and inclusion of autobiographical elements. 2 Without denying the democratic potential of the Discours, I will argue that close attention to its rhetorical and literary features reveals an unacknowledged tension in Descartes's thought between the individual and the social or communal aspects of method. This tension seems to have been overlooked by commentators.Briefly, the tension I have identified is manifest in the conflicting metaphors Descartes uses to characterize scientific and epistemological progress. The best known and most studied of these metaphors are from architecture and town-planning. Less attention has been paid to the metaphor of the road or path (chemin) in the Discours. Descartes sees cognitive and scientific progress as ultimately the work of a solitary individual. We can call this the "heroic" or "great individual" view of scientific progress. This is clear in his architectural metaphors. Yet recurrent metaphors characterizing cognitive progress as a road point to a more social or communal view of science as the work of many hands (or feet). Roads are social entities par excellence. They pre-exist those who travel them and are available to all who want to travel them. Although roads may be planned and built according to specifications, they may arise simply from the aggregated actions of individuals. I suggest that this tension between two fundamentally different characterizations and conceptions of cognitive progress indicates a deep division in Descartes's thought, unresolved in the Discours.What is at issue, philosophically, in my analysis of Descartes's rhetoric? First and most generally is the problem of bringing together all the [End Page 22] elements of a philosophical text, especially a text with the seminal importance of the Discours. What status and significance should we give to those elements of a text that do not seem to be directly part of the arguments? These elements include the author's self-presentation and indications as to the implied audience, as well as figurative language and illustrative and explicatory metaphors. I shall show how these elements repay close attention, and that it is fruitful to test them for consistency with the text's explicit claims and arguments.More specifically, my interpretation has implications for Descartes's program. Descartes's work is generally taken to be the basis of strict traditional autonomism and reductionist individualism. One critique of such individualism is that methods, not to mention the languages in which they are expressed, are social rather than private. A close examination of Descartes's own language supports this critique, as his rhetoric can be seen to undercut his avowed position in the text. It is open to debate whether or not Descartes was aware of the tension between his autonomism and individualism on one hand, and his hopes for cognitive and scientific progress founded upon method on the other. Thus, it is entirely possible that the quintessentially modern philosopher of the self had excessive expectations of that self, not to mention an incoherent picture of it.Finally, the implications of my analysis reach beyond Descartes's text to broader conceptual issues. The tension I have identified in the Discours is not limited to Descartes's work, but it points to underlying difficulties in trying to think through the problems he discusses. While methods are social, an individualistic element may be ineliminable. But the social is not just the aggregation of asocial selves. The self, its education and development, and its ability to participate in a method, must all be social. Another issue is the nature of scientific and epistemological progress, and the relationship between their individual and more communal aspects. And whatever their relationship, we... (shrink)