In the international bestseller, Thinking, Fast and Slow, Daniel Kahneman, the renowned psychologist and winner of the Nobel Prize in Economics, takes us on a groundbreaking tour of the mind and explains the two systems that drive the way we think. System 1 is fast, intuitive, and emotional; System 2 is slower, more deliberative, and more logical. The impact of overconfidence on corporate strategies, the difficulties of predicting what will make us happy in the future, the profound effect of cognitive (...) biases on everything from playing the stock market to planning our next vacation—each of these can be understood only by knowing how the two systems shape our judgments and decisions. -/- Engaging the reader in a lively conversation about how we think, Kahneman reveals where we can and cannot trust our intuitions and how we can tap into the benefits of slow thinking. He offers practical and enlightening insights into how choices are made in both our business and our personal lives—and how we can use different techniques to guard against the mental glitches that often get us into trouble. Winner of the National Academy of Sciences Best Book Award and the Los Angeles Times Book Prize and selected by The New York Times Book Review as one of the ten best books of 2011, Thinking, Fast and Slow is destined to be a classic. (shrink)

"Collects Martin Heidegger's pivotal writings on art, its role in human life and culture, and its relationship to thinking and truth"--Publisher description.

Present day neuroscience places the brain at the centre of study. But what if researchers viewed the brain not as the foundation of life, rather as a mediating organ? Ecology of the Brain addresses this very question. It considers the human body as a collective, a living being which uses the brain to mediate interactions.

Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the basic (...) general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

Despite the growing popularity of nonrepresentationalist approaches to cognition, and especially of those coming from the enactivist corner, positing internal representations is still the order of the day in mainstream cognitive science. Indeed, the idea that we have to invoke internal content-carrying, thing-like entities to account for the workings of mind and cognition proves to be particularly resilient. In this paper, my aim is to explain at least partially where this resilience of the reified notion of representation comes from. What (...) I want to show is that, crucially, positing inner representations isn’t so much warranted by the scientific practice itself – as is commonly held – but much more motivated by nonscientific and pre-theoretical elements that largely stem from, what I will call, linguistic contingencies. Otherwise put, much of what makes the reified notion of representation an attractive posit can be explained, not by the science, but by the way we, including cognitive scientists, speak. What I want to do here, then, is first, rehearse what reification means in the context of representationalism and, second, specify which linguistic contingencies can account for why the idea of positing representations remains for many not only a viable option, but an indispensability for anyone interested in explanations of mind and cognition. (shrink)

Evidence for unconscious semantic representation suggests that a cognitive unconscious exists. Phenomenal consciousness cannot easily be shown to deal with complex cognitive operations such as those involved in language translation and creativity. A self-organising phenomenal consciousness that controls brain functions also runs into mind/body problems (well recognised in the consciousness studies literature) that Perruchet & Vinter must address.

La notion de « conscience-noyau » due à Antonio Damasio comporte de sérieux défauts. Elle ne peut rendre compte de phénomènes comme le rêve ou le syndrome d’enfermement qu’une théorie adéquate de la conscience devrait expliquer, car elle suppose que la représentation de soi par un organisme est affectée par son traitement d’un objet. Cette condition ne peut être satisfaite dans aucun de ces deux états. De plus, dans de nombreux états dans lesquels l’organisme prend en compte l’effet, par exemple, (...) de la perception d’un objet extérieur, cette prise en compte est inconsciente. Enfin, la connexion étroite que Damasio établit entre la conscience et le moi conduit à une division du moi intenable d’un point de vue théorique: des considérations liées à l’évolution exigent que même un moi primitif manifeste les traits d’un « moi autobiographique ». (shrink)

This book contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died.

The article examines some of the main theses about self-awareness developed in recent analytic philosophy of mind (especially the work of Bermúdez), and points to a number of striking overlaps between these accounts and the ones to be found in phenomenology. Given the real risk of unintended repetitions, it is argued that it would be counterproductive for philosophy of mind to ignore already existing resources, and that both analytical philosophy and phenomenology would profit from a more open exchange.

Reexamines the Western philosophical tradition, looking at the basic concepts of the mind, time, causation, morality, and the self.

Aesthetics originated in the mid-eighteenth century as a branch of the theory of cognition; it was then - from Kant on - limited to the arts, the beautiful, and the sublime; eventually - starting in the last decade of the twentieth century - aesthetics has been rediscovered in its full dimension as a theory of sensate cognition. This volume contains the contributions to the 33rd Wisconsin Workshop. The articles cover the revaluation of the history of aesthetics, neurobiological aspects of the (...) processing of aisthesis, and multiple aspects of the most recent very lively debates about the realm, scope, and pertinence of aesthetics. (shrink)

We are even less aware of our internal organs and the physiological processes that keep us alive. In this fascinating work, Drew Leder examines all the ways in which the body is absent—forgotten, alien, uncontrollable, obscured.

In a devastating critique Raymond Tallis exposes the exaggerated claims made for the ability of neuroscience and evolutionary theory to explain human consciousness, behaviour, culture and society. While readily acknowledging the astounding progress neuroscience has made in helping us understand how the brain works, Tallis directs his guns at neuroscience’s dark companion – "Neuromania" as he describes it – the belief that brain activity is not merely a necessary but a sufficient condition for human consciousness and that consequently our everyday (...) behaviour can be entirely understood in neural terms. With the formidable acuity and precision of both clinician and philosopher, Tallis dismantles the idea that "we are our brains", which has given rise to a plethora of neuro-prefixed pseudo-disciplines laying claim to explain everything from art and literature to criminality and religious belief, and shows it to be confused and fallacious, and an abuse of the prestige of science, one that sidesteps a whole range of mind–body problems. The belief that human beings can be understood essentially in biological terms is a serious obstacle, argues Tallis, to clear thinking about what human beings are and what they might become. To explain everyday behaviour in Darwinian terms and to identify human consciousness with the activity of the evolved brain denies human uniqueness, and by minimising the differences between us and our nearest animal kin, misrepresents what we are, offering a grotesquely simplified and degrading account of humanity. We are, shows Tallis, infinitely more interesting and complex than we appear in the mirror of biologism. Combative, fearless and always thought-provoking, _Aping Mankind _is an important book, one that scientists, cultural commentators and policy-makers cannot ignore. (shrink)

In _Reconstructing the Cognitive World_, Michael Wheeler argues that we should turn away from the generically Cartesian philosophical foundations of much contemporary cognitive science research and proposes instead a Heideggerian approach. Wheeler begins with an interpretation of Descartes. He defines Cartesian psychology as a conceptual framework of explanatory principles and shows how each of these principles is part of the deep assumptions of orthodox cognitive science. Wheeler then turns to Heidegger's radically non-Cartesian account of everyday cognition, which, he argues, can (...) be used to articulate the philosophical foundations of a genuinely non-Cartesian cognitive science. Finding that Heidegger's critique of Cartesian thinking falls short, even when supported by Hubert Dreyfus's influential critique of orthodox artificial intelligence, Wheeler suggests a new Heideggerian approach. He points to recent research in "embodied-embedded" cognitive science and proposes a Heideggerian framework to identify, amplify, and clarify the underlying philosophical foundations of this new work. He focuses much of his investigation on recent work in artificial intelligence-oriented robotics, discussing, among other topics, the nature and status of representational explanation, and whether cognition is computation rather than a noncomputational phenomenon best described in the language of dynamical systems theory. Wheeler's argument draws on analytic philosophy, continental philosophy, and empirical work to "reconstruct" the philosophical foundations of cognitive science in a time of a fundamental shift away from a generically Cartesian approach. His analysis demonstrates that Heideggerian continental philosophy and naturalistic cognitive science need not be mutually exclusive and shows further that a Heideggerian framework can act as the "conceptual glue" for new work in cognitive science. (shrink)

This book carefully and courageously revisits a notorious problem at the heart of Descartes's dualistic metaphysics - the problem of mind-body interaction - and shows how it is not a problem for Descartes after all.

This book reviews and integrates the most recent research and theories on this exciting topic, and features original contributions from leading researchers ...

Keith Holyoak and Paul Thagard provide a unified, comprehensive account of the diverse operations and applications of analogy, including problem solving, ...

" In Imagination and the Meaningful Brain, psychoanalyst Arnold Modell claims that subjective human experience must be included in any scientific...

In Supersizing the Mind, Andy Clark argues that the human mind is not bound inside the head but extends into body and environment.

Ifeel that Iam apartof, but separatefrom an 'out there' world. 2. Ifeel that my perception of the world mingles with feelings of past experience. 3. My experienceof the world is selective and purposeful. 4. I am thinking ahead allthe timeintrying ...

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...) others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

This paper argues that the cognitive sciences need to incorporate aesthetic study of the arts into their methodologies in order to fully understand the nature of human cognitive processes, because the arts reflect insights into human experience that are unobtainable by the methodologies of the natural sciences. These insights differ from those acquired by scientific exploration because they arise not from the conceptual logic of reason but from the precategorial intuition of imagination. Aesthetics provides a methodology whereby we are able (...) to understand how art enables us to experience emotions caused by sense impressions. This methodology lies at the heart of Giambattista Vico’s Principi di scienza nuova (1725-44), which attempts to account for the way we live and participate in cultural, social, and civic communities. Vico’s theory challenges certain Western philosophical presuppositions that still inform much of cognitive science, such as the relation of language to our experience of the natural world, the nature of subjective and objective representations, and the role of the arts in the evolutionary development of the human mind. In basing my approach to literature on Vico’s, Susanne K. Langer’s (1953, 1967) and Merleau-Ponty’s (1962[1945], 1968) theories, I argue that the language of literature is distinguished from conventional language use by its imaginative use of aesthetic patterns that make manifest the inherent character of the external world as we experience it. By introducing the concepts of minding, metaphor, and icon as structures of the imagination, I show how the language of poetic expression in Matthew Arnold’s poem, “Dover Beach,” enables us to apprehend the ways in which we intuitively participate in the reality that underlies our conscious experience. Such participation occurs because sensory impressions of the world we experience cause modifications in the human mind that result in affective responses. Current research in the cognitive sciences increasingly indicates that such modification occurs; aesthetic study of the arts provides a means whereby we can know what it is like to experience such modifications. (shrink)

The last 15 years has seen an explosion of studies that use cognitive science to understand theatre, what McConachie and Hart called ‘the cognitive turn’ in theatre studies, whilst at the same time theatre-makers are using their artistic practice to interrogate research questions. Although these two areas might seem distinct, perhaps even opposed, in this book Shaun May suggests that there is a great deal to be gained from analysing them together and carefully attending to their conceptual foundations. After arguing (...) that much of the work in the cognitive turn is conceptually flawed, May draws on the work of Gilbert Ryle and Ludwig Wittgenstein to suggest a rethinking of the concept of mind and, moreover, argues that this should form the foundation for our understanding of the kind of ‘doing-thinking’ that is characteristic of practice as research. (shrink)

The hypothesis of the study was that the domains of color and form are structured into nonarbitrary, semantic categories which develop around perceptually salient “natural prototypes.” Categories which reflected such an organization (where the presumed natural prototypes were central tendencies of the categories) and categories which violated the organization (natural prototypes peripheral) were taught to a total of 162 members of a Stone Age culture which did not initially have hue or geometric-form concepts. In both domains, the presumed “natural” categories (...) were consistently easier to learn than the “distorted” categories. Even when not central, natural prototype stimuli tended to be more rapidly learned and more often chosen as the most typical example of the category than were other stimuli. Implications for general differences between natural categories and the artificial categories of concept formation research were discussed. (shrink)