Thirty years ago, grounded cognition had roots in philosophy, perception, cognitive linguistics, psycholinguistics, cognitive psychology, and cognitive neuropsychology. During the next 20 years, grounded cognition continued developing in these areas, and it also took new forms in robotics, cognitive ecology, cognitive neuroscience, and developmental psychology. In the past 10 years, research on grounded cognition has grown rapidly, especially in cognitive neuroscience, social neuroscience, cognitive psychology, social psychology, and developmental psychology. Currently, grounded cognition appears to be achieving increased acceptance throughout cognitive (...) science, shifting from relatively minor status to increasing importance. Nevertheless, researchers wonder whether grounded mechanisms lie at the heart of the cognitive system or are peripheral to classic symbolic mechanisms. Although grounded cognition is currently dominated by demonstration experiments in the absence of well-developed theories, the area is likely to become increasingly theory driven over the next 30 years. Another likely development is the increased incorporation of grounding mechanisms into cognitive architectures and into accounts of classic cognitive phenomena. As this incorporation occurs, much functionality of these architectures and phenomena is likely to remain, along with many original mechanisms. Future theories of grounded cognition are likely to be heavily influenced by both cognitive neuroscience and social neuroscience, and also by developmental science and robotics. Aspects from the three major perspectives in cognitive science—classic symbolic architectures, statistical/dynamical systems, and grounded cognition—will probably be integrated increasingly in future theories, each capturing indispensable aspects of intelligence. (shrink)

Painters are the experts in colour phenomenology. Their business is to use colour to affect our feelings. Psychophysicists are expert in making experimental inferences from behavioural responses to the functional mechanisms of perception. The varying aims of these two groups of people mean that much that is of interest to the one is of little concern to the other. However, in recent times several prominent psychophysicists, such as Floyd Ratliff , Jack Werner and Dorothea Jameson , have thrown much light (...) on painterly practice. Following their lead, I would like to sketch some of the mechanisms that are responsible for many of the features of colour appearance important to the work of visual artists. I will begin with some phenomena that can be accounted for by mechanisms that are reasonably well understood, and then move to phenomena whose underlying basis is less well established. I will conclude with a suggestive experiment and, true to my calling as a philosopher, a piece of downright speculation. (shrink)