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)

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)

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)

Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at (...) the Leeds Art Gallery in 2012, represents many of the most interesting positions along that spectrum. Contributions address issues concerning aesthetic testimony, the processing and appreciation of poetry, the aesthetics of disgust, imagination, genre, evolutionary constraints on art appreciation, creativity, musical cognition and the limitations or productiveness of empirical enquiry for philosophical aesthetics. (shrink)

Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at (...) the Leeds Art Gallery in 2012, represents many of the most interesting positions along that spectrum. Contributions address issues concerning aesthetic testimony, the processing and appreciation of poetry, the aesthetics of disgust, imagination, genre, evolutionary constraints on art appreciation, creativity, musical cognition and the limitations or productiveness of empirical enquiry for philosophical aesthetics. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations (...) of aesthetics. This paper explores this general framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

Changes in the aims and methods of the philosophy of mind have occurred in recent decades. In particular, computer simulations have emerged as a means of constructing empirically and conceptually defensible theories of mind. This article explores pedagogical innovations that may be necessitated by these changes. One question raised is whether hands‐on teaching of simulation methods should be a standard part of philosophy of mind courses. These courses, because of an increasing empirical orientation, are becoming more (...) interdisciplinary, and certain consequences of this development are elaborated here. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really (...) be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (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 computational view of mind rests on certain intuitions regarding the fundamental similarity between computation and cognition. We examine some of these intuitions and suggest that they derive from the fact that computers and human organisms are both physical systems whose behavior is correctly described as being governed by rules acting on symbolic representations. Some of the implications of this view are discussed. It is suggested that a fundamental hypothesis of this approach is that there is a natural domain of (...) human functioning that can be addressed exclusively in terms of a formal symbolic or algorithmic vocabulary or level of analysis. Much of the paper elaborates various conditions that need to be met if a literal view of mental activity as computation is to serve as the basis for explanatory theories. The coherence of such a view depends on there being a principled distinction between functions whose explanation requires that we posit internal representations and those that we can appropriately describe as merely instantiating causal physical or biological laws. In this paper the distinction is empirically grounded in a methodological criterion called the " cognitive impenetrability condition." Functions are said to be cognitively impenetrable if they cannot be influenced by such purely cognitive factors as goals, beliefs, inferences, tacit knowledge, and so on. Such a criterion makes it possible to empirically separate the fixed capacities of mind from the particular representations and algorithms used on specific occasions. In order for computational theories to avoid being ad hoc, they must deal effectively with the "degrees of freedom" problem by constraining the extent to which they can be arbitrarily adjusted post hoc to fit some particular set of observations. This in turn requires that the fixed architectural function and the algorithms be independently validated. It is argued that the architectural assumptions implicit in many contemporary models run afoul of the cognitive impenetrability condition, since the required fixed functions are demonstrably sensitive to tacit knowledge and goals. The paper concludes with some tactical suggestions for the development of computational cognitive theories. (shrink)

We provide two programmatic frameworks for integrating philosophical research on understanding with complementary work in computer science, psychology, and neuroscience. First, philosophical theories of understanding have consequences about how agents should reason if they are to understand that can then be evaluated empirically by their concordance with findings in scientific studies of reasoning. Second, these studies use a multitude of explanations, and a philosophical theory of understanding is well suited to integrating these explanations in illuminating ways.

This chapter begins with a historical overview of aesthetics and the philosophy of art before turning to a discussion of how the philosophy of art bears upon human culture. It then considers the methods used in attacking problems in aesthetics and the philosophy of art by highlighting the distinctions between pure and applied philosophy, between internal and external perspectives on aesthetic and artistic phenomena, and between first-order and second-order methods. It also examines how aesthetics and the (...) philosophy of art are affected as the arts evolve and as empirical studies of aesthetic and artistic phenomena become well established in the social and behavioural sciences as well as the humanities. (shrink)

Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations (...) of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics. (shrink)

What influences people’s appreciation of works of art? In this paper, we provide a new cognitive approach to this big question, and the first empirical results in support of it. As a work of art typically does not activate intuitive cognition for functional artefacts, it is represented as an instance of non-verbal symbolic communication. By application of Sperber and Wilson’s Relevance Theory of communication, we hypothesize that understanding the artist’s intention plays a crucial role in intuitive art appreciation (...) judgements. About 60 works of fine art, representing a wide range of periods, genres and styles, were selected in the permanent exhibitions at Tate Britain in London, and rated by more than 500 visitors for goodness and understanding of the artist’s intention. Results suggest that works of art whose artist’s intention is easy to understand tend to be preferred over those with more obscure intentions, even when controlling for familiarity effects. (shrink)

Extract from Hofstadter's revew in Bulletin of American Mathematical Society : http://www.ams.org/journals/bull/1980-02-02/S0273-0979-1980-14752-7/S0273-0979-1980-14752-7.pdf -/- "Aaron Sloman is a man who is convinced that most philosophers and many other students of mind are in dire need of being convinced that there has been a revolution in that field happening right under their noses, and that they had better quickly inform themselves. The revolution is called "Artificial Intelligence" (Al)-and Sloman attempts to impart to others the "enlighten- ment" which he clearly regrets not having (...) experienced earlier himself. Being somewhat of a convert, Sloman is a zealous campaigner for his point of view. Now a Reader in Cognitive Science at Sussex, he began his academic career in more orthodox philosophy and, by exposure to linguistics and AI, came to feel that all approaches to mind which ignore AI are missing the boat. I agree with him, and I am glad that he has written this provocative book. The tone of Sloman's book can be gotten across by this quotation (p. 5): "I am prepared to go so far as to say that within a few years, if there remain any philosophers who are not familiar with some of the main developments in artificial intelligence, it will be fair to accuse them of professional incom- petence, and that to teach courses in philosophy of mind, epistemology, aesthetics, philosophy of science, philosophy of language, ethics, metaphysics, and other main areas of philosophy, without discussing the relevant aspects of artificial intelligence will be as irresponsible as giving a degree course in physics which includes no quantum theory." -/- (The author now regrets the extreme polemical tone of the book.). (shrink)

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture (...) in philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)

Starting from the late Renaissance, efforts to make vocal music more expressive heightened the power of words, which, in turn, gave birth to the modern semantics of musical expression. As the skepticism of seventeenth-century science divorced the acoustic properties from the metaphysical qualities of music, the door was opened to dicern the rich links between musical perception and varied mental faculties. In Tuning the Mind, Ruth Katz and Ruth HaCohen trace how eighteenth century theoreticians of music examined anew the role (...) of the arts within a general theory of knowledge. As the authors note, the differences between the physical and emotional dimensions of music stimulated novel conceptions and empirical inquiries into the old aesthetic queries. Tracing this development, their opening chapter deals with seventeenth-century epistemological issues concerning the artistic qualities of music. Katz and HaCohen show that painting and literature displayed a comparable tendency toward "musicalization," whereby the dynamic of forms-the modalities specific to each artistic medium-rather than subject matter was believed to determine expression. Katz and HaCohen explore the ambiguities inherent in idealization of an art form whose mimetic function has always been problematic. They discuss the major outlines of this development, from Descartes to Vico through Condillac. Particular emphasis is placed on eighteenth-century British thinkers, from Shaftesbury to Adam Smith, who perceived these problems in their full complexity. They also explore how the French and the Germans dealt differently with questions that preoccupied the British, each nation in accordance with their own past tradition and tendencies. The concluding chapter summarizes the parallel development of abstract art and basic hypotheses concerning the mind and explores basic theoretical questions pertaining to the relationship between perception and cognition. In addressing some of the most complex problems in musical aesthetics, Katz and HaCohen provide a unique historical perspective on the ways their art creates and develops coherent worlds, and, in so doing, contribute to our understanding of the workings of the mind. Ruth Katz is Emanuel Alexandre Professor of Musicology at the Hebrew University in Jerusalem. She is co-editor with Carl Dahlhaus of Contemplating Music, a four-volume study of the philosophy of music. Ruth HaCohen is Clarica and Fred Davidson Senior Lecturer of Musicology at the Hebrew University. (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)

Explanations in cognitive science and computational neuroscience rely predominantly on computational modeling. Although the scientific practice is systematic, and there is little doubt about the empirical value of numerous models, the methodological account of computational explanation is not up-to-date. The current chapter offers a systematic account of computational explanation in cognitive science and computational neuroscience within a mechanistic framework. The account is illustrated with a short case study of modeling of the mirror neuron system in terms of (...) predictive coding. (shrink)

Bayesian cognitive science is a research programme that relies on modelling resources from Bayesian statistics for studying and understanding mind, brain, and behaviour. Conceiving of mental capacities as computing solutions to inductive problems, Bayesian cognitive scientists develop probabilistic models of mental capacities and evaluate their adequacy based on behavioural and neural data generated by humans (or other cognitive agents) performing a pertinent task. The overarching goal is to identify the mathematical principles, algorithmic procedures, and causal mechanisms that (...) enable cognitive agents to take uncertainty into account and weigh it appropriately in producing adaptive behaviour. -/- The appeal of Bayesian cognitive science derives from its transparency, normativity, and unifying power. Resources from Bayesian statistics allow cognitive scientists to characterise transparently, in terms of random variables and probabilistic dependencies between them, the inductive problems that many mental capacities are presumed to solve. Given this characterisation, researchers can define an upper bound on one’s performance on that problem and use it as a benchmark for interpreting experimental results, formulating hypotheses about why and when deviations from optimal performance should be expected, and seeking explanations of mental capacities within one encompassing theoretical framework. -/- Although critics question the testability, explanatory power, and plausibility of Bayesian models of mental capacities, Bayesian cognitive science has proved itself to be an incredibly fruitful research programme. Fuelled by empirical and theoretical results from psychology, neuroscience, philosophy, computer science, artificial intelligence, and evolution, Bayesian cognitive science has: advanced our understanding of why cognitive systems should keep track of uncertainty and use it to facilitate adaptive behaviour; clarified how the brain might encode information about the uncertainty of its stimuli and perform computations with probability distributions; and crystallised the insight that cognitive agents’ management of uncertainty might be grounded in predictive processes aimed at avoiding surprising exchanges with the environment. (shrink)

ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also (...) by internal factors such as its methods and those concerning its subject-matter. I have explored the above in the context of meta-philosophy. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. It is mostly about these explorations of art that the contents of this piece is concerned with. All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias. (shrink)

Critiques of Knowing explores what happens to science and computing when we think of them as texts. Lynette Hunter elegantly weaves together such vast areas of thought as rhetoric, politics, AI, computing, feminism, science studies, aesthetics and epistemology. This book shows us that what we need is a radical shake-up of approaches to the arts if the critiques of science and computing are to come to any fruition.

_Critiques of Knowing_ explores what happens to science and computing when we think of them as texts. Lynette Hunter elegantly weaves together vast areas of thought: rhetoric, politics, AI, computing, feminism, science studies, aesthetics and epistemology. _Critiques of Knowing_ shows us that what we need is a radical shake-up of approaches to the arts if the critiques of science and computing are to come to any fruition.

Aesthetic responsivity and the phenomenology of arts processes reflect integrative self-world engagements, and are informative about the nature of the world and our biology in ways that are often not be made evident through scientific research. Akins’ and Hahn’s research regarding human trichromatic visual perception brings together the art of photography, neuroscience, and psychophysics, along with analyses of perspectives on vision in science and philosophy, to invoke anti-reductive, holistic understandings of how we see colour. We bring aesthetics and (...) the phenomenology of arts processes to bear in exploring creaturely re-sponsivity to the complex inter-relational dynamics of light perception, and o˙er reflective metaphors for human engagements that challenge Darwinian utilitarian conceptions. We argue that attending to aesthetic and phenomenological aspects of experiences is essential to understanding how the shared circuits of cognition and sensory-motor engagement shape our perceptive responsive interactions. (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)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty (...) as employed by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

Summarizes and illuminates two decades of research Gathering important papers by both philosophers and scientists, this collection illuminates the central themes that have arisen during the last two decades of work on the conceptual foundations of artificial intelligence and cognitive science. Each volume begins with a comprehensive introduction that places the coverage in a broader perspective and links it with material in the companion volumes. The collection is of interest in many disciplines including computer science, linguistics, biology, information (...) science, psychology, neuroscience, iconography, and philosophy. Examines initial efforts and the latest controversies The topics covered range from the bedrock assumptions of the computational approach to understanding the mind, to the more recent debates concerning cognitive architectures, all the way to the latest developments in robotics, artificial life, and dynamical systems theory. The collection first examines the lineageof major research programs, beginning with the basic idea of machine intelligence itself, then focuses on specific aspects of thought and intelligence, highlighting the much-discussed issue of consciousness, the equally important, but less densely researched issue of emotional response, and the more traditionally philosophical topic of language and meaning. Provides a gamut of perspectives The editors have included several articles that challenge crucial elements of the familiar research program of cognitive science, as well as important writings whose previous circulation has been limited. Within each volume the papers are organized to reflect a variety of research programs and issues. The substantive introductions that accompany each volume further organize the material and provide readers with a working sense of the issues and the connection between articles. (shrink)

The Dictionary of World Philosophy covers the diverse and challenging terminology, concepts, schools and traditions of the vast field of world philosophy. Providing an extremely comprehensive resource and an essential point of reference in a complex and expanding field of study the Dictionary covers all major subfields of the discipline. Key features: * Cross-references are used to highlight interconnections and the cross-cultural diffusion and adaptation of terms which has taken place over time * The user is led from (...) specific terms to master entries which provide valuable historical and cultural context * Each master entry is followed by at least two suggestions for further reading on the subject, creating a substantial bibliography of world philosophy * References extend beyond philosophy to related areas such as cognitive science, computer science, language and physics Subdisciplines covered include: * aesthetics * ethics * sociopolitical philosophy * the philosophy of law * epistemology * logic * the philosophy of science * the philosophy of mind * the philosophy of culture and history * metaphysics * the philosophy of religion Entries are drawn from West Africa, Arabic, Chinese, Indian, Japanese, Jewish, Korean, Latin American, Maori and Native American philosophy including the important and so far largely neglected instance of Pre-Hispanic thought: Nahua philosophy. (shrink)

The “Neuronal man”, as Changeux has called him, is now credited with an aesthetic mind. This mind is not the “Geist” of the philosophical tradition. The cognitive sciences have took over from philosophy and now they deal with art and aesthetics as they do with whatever aspect of human thought, experience and activity. Philosophers like Kant were interested in the empirical sources of beauty, but for him empirical features of its development did not change anything at (...) all to its very essence. The naturalism implemented in the philosophy of mind and sciences of cognition has changed the terms of the question, so that the main point in discussion is whether aesthetic experience can be explained in terms of brain and/or computational process or whether it should be considered as irreductible to empirical or physical facts. These debates can be seen as new and interesting, but they drive directly to an aporia reminding in a certain way the old debate between the "Sons of the ground" and the "Friends of ideas". (shrink)

Cognitive Science, Literature, and the Arts is the first student-friendly introduction to the uses of cognitive science in the study of literature, written specifically for the non-scientist. Patrick Colm Hogan guides the reader through all of the major theories of cognitive science, focusing on those areas that are most important to fostering a new understanding of the production and reception of literature. This accessible volume provides a strong foundation of the basic principles of cognitive science, and (...) allows us to begin to understand how the brain works and makes us feel as we read. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 105-112 [Access article in PDF] Philosophy of Art Today:Calling Frameworks into QuestionBeyond Aesthetics: Philosophical Essays, by Noël Carroll. Cambridge: Cambridge University Press, 2001, 450 pp., $29.00. Merit: Aesthetic And Ethical, by Marcia Eaton. Oxford University Press, 2001, 252 pp., $52.00. But Is It Art? by Cynthia Freeland. Oxford University Press, 2001, 231 pp., $11.95. In his magisterial study of modern aesthetics, (...) The Theory of the Arts, Francis Sparshott observed that while "normal science" is what T.S. Kuhn called "hackwork" because it is carried out within a framework it never calls into question, there is — in that same sense — no such thing as "normal art" (Princeton: Princeton University Press, 1982). The twenty years since thepublication of Sparshott's book have done nothing but underscore this point. No theme in the arts has been more prominent than the challenging of existing frameworks. Equally, no project in the philosophy of art has proven more important than the remapping and expanding of prior conceptual boundaries. In both the arts and the philosophy of art, the new norm is the foreswearing of the normal. And just as contemporary art challenges the concept we have of art itself, contemporary aesthetics challenges the traditional notion we have of aesthetics. Of late, this challenge has been vigorous, persistent, heated. Yet, although it has produced some affronts to establishedsensibilities, it has not led to the wholesale undoing of prior advances in aesthetic theory, as many had feared.It is this development, rather than any particular movement or advance within the field, that stands out as the distinguishing characteristic of aesthetics today. Similar assaults on basic assumptions, disciplinary borders, and theoretical frameworks have raged in neighboring academic domains where they have inspired debilitating internecine conflict and conceptual disarray. Postmodernist attacks on the very possibility of theoretical coherence have been the most notorious, but far from the exclusive, examples of effects of this sort. Similar skeptical developments have proven corrosive in disciplines from anthropology to theology. Yet the field of aesthetics has generally welcomed framework challenge. It has not been driven by it into warring camps, and has taken this challenge as a positive contribution to the field's strength and importance.Three excellent recent works illustrate different ways in which the a-normality of contemporary aesthetics is being played out, and demonstrate [End Page 105] why it is both constructive and worthwhile. Cynthia Freeland's But Is It Art? is presented as an introduction to art theory, but it is really a provocative analysis of ways in which the visual arts have blown out their parameters and the demands this development places on intelligent response. Noël Carroll's Beyond Aesthetics takes as its theme the idea that, to make proper sense of the present world of aesthetic phenomena, we must "reach beyond aesthetic theories of art and their various prohibitions." And Marcia Eaton's Merit, Aesthetic and Ethical argues that the truly important issues we encounter in making sense of aesthetic experience require an integration of normative considerations formerly thought of as discretely ethical or aesthetic. Each of these works looks at the ways art and aesthetics have forced us to think differently about both of them, due to the way each has recently evolved. Yet none of them takes the radical view that all of what happened before is rendered insignificant by the revolutionary novelty of current work. Instead, these works are syncretic in just the way that contemporary philosophy of art is syncretic; they show how apparent discontinuities can be squared with the general thrust of the best historical work.The picture that emerges from these (as well as many other recent works) is this: Aesthetics today is a discipline pleased both to rethink its own basic concepts and to examine its connections to a variety of regions of concern not traditionally regarded as its province. A century ago, aestheticians were content to think of themselves as custodians of grand and noble values — principally the values of beauty and... (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in (...) the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

As data-intensive and computational science become increasingly established as the dominant mode of conducting scientific research, visualisations of data and of the outcomes of science become increasingly prominent in mediating knowledge in the scientific arena. This position piece advocates that more attention should be paid to the epistemological role of visualisations beyond their being a cognitive aid to understanding, but as playing a crucial role in the formation of evidence for scientific claims. The new generation of computational and informational (...) visualisations and imaging techniques challenges the philosophy of science to re-think its position on three key distinctions: the qualitative/quantitative distinction, the subjective/objective distinction, and the causal/non-causal distinction. (shrink)

It has always been controversial to make a sharp distinction between the philosophical and the psychological approaches to aesthetics; and the revolution brought about by cognitive science has led many to believe that the philosophy of art no longer controls a sovereign territory of its own. To take one case in point: recent aesthetics has addressed the problem of fiction, asking how it is that real emotions can be felt towards merely imagined events. Several philosophers have tried to (...) solve this problem by leaning on observations in psychology – Jenefer Robinson, for example, exploring the domain of pre-conscious and non-rational responses, and Greg Currie, invoking simulation theory from the realm of cognitive science. I am not yet persuaded that either has succeeded in solving the philosophical question: but the fact that such sophisticated and well-informed philosophers should begin from studies in empirical psychology says much about how the subject of aesthetics has changed since the early days of linguistic analysis. (shrink)

Contrary to common views that philosophy is extraneous to cognitive science, this paper argues that philosophy has a crucial role to play in cognitive science with respect to generality and normativity. General questions include the nature of theories and explanations, the role of computer simulation in cognitive theorizing, and the relations among the different fields of cognitive science. Normative questions include whether human thinking should be Bayesian, whether decision making should maximize expected utility, (...) and how norms should be established. These kinds of general and normative questions make philosophical reflection an important part of progress in cognitive science. Philosophy operates best, however, not with a priori reasoning or conceptual analysis, but rather with empirically informed reflection on a wide range of findings in cognitive science. (shrink)

With the sustained, coherent perspective of an authored text and the diverse, authoritative views typical of an anthology, Philosophy of Art: Aesthetic Theory and Practice by David Boersema provides the context and commentary students need to comprehend the various issues in philosophy of art. Throughout the book, issues are examined using the lenses of the three broad areas of philosophy: metaphysics, epistemology, and value theory. That is, concerns are raised about what is expressed, how it is expressed, (...) and why it is expressed. Chapters on the artist, the audience, and the artwork further break down the discipline and are applied to the final chapters on the specific types of art. The differences between art and science as well as the relationship of art and society provide a refreshing discussion of overlooked areas in philosophy of art. (shrink)

Mental representations remain the central posits of psychology after many decades of scrutiny. However, there is no consensus about the representational format(s) of biological cognition. This paper provides a survey of evidence from computational cognitive psychology, perceptual psychology, developmental psychology, comparative psychology, and social psychology, and concludes that one type of format that routinely crops up is the language-of-thought (LoT). We outline six core properties of LoTs: (i) discrete constituents; (ii) role-filler independence; (iii) predicate–argument structure; (iv) logical operators; (v) (...) inferential promiscuity; and (vi) abstract content. These properties cluster together throughout cognitive science. Bayesian computational modeling, compositional features of object perception, complex infant and animal reasoning, and automatic, intuitive cognition in adults all implicate LoT-like structures. Instead of regarding LoT as a relic of the previous century, researchers in cognitive science and philosophy-of-mind must take seriously the explanatory breadth of LoT-based architectures. We grant that the mind may harbor many formats and architectures, including iconic and associative structures as well as deep-neural-network-like architectures. However, as computational/representational approaches to the mind continue to advance, classical compositional symbolic structures – that is, LoTs – only prove more flexible and well-supported over time. (shrink)

The philosophy of science has lost its self-confidence, witness the lack of advanced textbooks in contrast to the abundance of elementary textbooks. Structures in Science is an advanced textbook that explicates, updates, accommodates, and integrates the best insights of logical-empiricism and its main critics. This `neo-classical approach' aims at providing heuristic patterns for research. The book introduces four ideal types of research programs and reanimates the distinction between observational laws and proper theories. It explicates various patterns of explanation by (...) subsumption and specification as well as structures in reductive and other types of interlevel research. Its analysis of theory evaluation leads to new characterizations of confirmation, empirical progress, and pseudoscience. Partial analogies between progress in nomological research and progress in explicative and design research emerge. Finally, special chapters are devoted to design research programs, computational philosophy of science, the structuralist approach to theories, and research ethics. (shrink)

Cottingham : Western philosophy : an anthology (second edition) -- Cahoone : from modernism to postmodernism : an anthology (expanded -- Second edition) -- Lafollette : ethics in practice : an anthology (third edition) -- Goodin and Pettit: contemporary political philosophy: an anthology (second -- Edition) -- Eze: african philosophy : an anthology -- McNeill and Feldman : continental philosophy : an anthology -- Kim and Sosa : metaphysics : an anthology -- Lycan and Prinz : (...) mind and cognition : an anthology (third edition) -- Kuhse and Singer : bioethics : an anthology (second edition) -- Cummins and Cummins : minds, brains, and computers : the foundations of -- Cognitive science : an anthology -- Sosa, Kim, Fantl, and McGrath epistemology : an anthology (second edition) -- Kearney and Rasmussen : continental aesthetics, romanticism to -- Postmodernism : an anthology -- Martinich and Sosa : analytic philosophy : an anthology -- Jacquette : philosophy of logic : an anthology -- Jacquette : philosophy of mathematics : an anthology -- Harris, Pratt, and Waters : American philosophies : an anthology -- Emmanuel and Goold: modern philosophy from Descartes to Nietzsche : an anthology -- Scharff and Dusek : philosophy of technology ; the technological condition : an anthology -- Light and Rolston : environmental ethics : an anthology -- Taliaferro and Griffiths : philosophy of religion : an anthology -- Lamarque and Olsen : aesthetics and the philosophy of art; the analytic -- Tradition : an anthology -- John and Lopes : philosophy of literature ; contemporary and classic -- Readings : an anthology -- Cudd and Andreasen : feminist theory : a philosophical anthology -- Carroll and Choi : philosophy of film and motion pictures : an anthology -- Lange : philosophy of science : an anthology -- Shafer-Landau and Cuneo : foundations of ethics : an anthology -- Curren : philosophy of education : an anthology -- Shafer-Landau : ethical theory : an anthology -- Cahn and Meskin : aesthetics : a comprehensive anthology -- McGrew, Alspector-Kelly and Allhoff : the philosophy of science : an historical -- Anthology -- May and Brown : the philosophy of law : classic and contemporary readings -- Forthcoming -- Rosenberg and ARP : philosophy of biology : an anthology. (shrink)

Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues, epistemic problems, and questions of value. This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy (...) of art in German philosophy during the eighteenth and early nineteenth century. By reconstructing the history of these debates, I hope to shed new light on the origins of aesthetics as a discipline and to explain why its subject matter and status within philosophy are still so difficult to define. (shrink)

This paper examines explanations for human artistic behavior in two reductionist research programs, cognitive neuroscience and evolutionary psychology. Despite their different methodological outlooks, both approaches converge on an explanation of art production and appreciation as byproducts of normal perceptual and motivational cognitive skills that evolved in response to problems originally not related to art, such as the discrimination of salient visual stimuli and speech sounds. The explanatory power of this reductionist framework does not obviate the need for (...) higher-level accounts of art from the humanities, such as aesthetics, art history or anthropology of art. (shrink)

In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to (...) her update of Kantian aesthetics, beauty is grounded in indeterminate yet systematic principles of perception and cognition. However, Kant’s aesthetic theory rested on a notion of indeterminacy whose consequences for understanding the nature of art were implausible. McMahon conceptualizes "indeterminacy" in terms of contemporary philosophical, psychological, and computational theories of mind. In doing so, she develops an aesthetic theory that reconciles the apparent dichotomies which stem from the tension between the determinacy of communication and the indeterminacy of creativity. Dichotomies such as universality and subjectivity, objectivity and autonomy, cognitivism and non-cognitivism, and truth and beauty are revealed as complementary features of an aesthetic judgment. (shrink)

The status of abduction is still controversial. When dealing with abductive reasoning misinterpretations and equivocations are common. What did Peirce mean when he considered abduction both a kind of inference and a kind of instinct or when he considered perception a kind of abduction? Does abduction involve only the generation of hypotheses or their evaluation too? Are the criteria for the best explanation in abductive reasoning epistemic, or pragmatic, or both? Does abduction preserve ignorance or extend truth or both? To (...) study some of these conundrums and to better understand the concept of visual abduction, I think that an interdisciplinary effort is needed, at the same time fecundated by a wide philosophical analysis. To this aim I will take advantage of some reflections upon Peirce’s philosophy of abduction that I consider central to highlight the complexity of the concept, too often seen in the partial perspective of limited formal and computational models. I will ponder over some seminal Peircean philosophical considerations concerning the entanglement of abduction, perception, and inference, which I consider are still important to current cognitive research. Peircean analysis helps us to better grasp how model-based, sentential, manipulative, and eco-cognitive aspects of abduction—I have introduced in my book Abductive Cognition —have to be seen as intertwined, and indispensable for building an acceptable integrated model of visual abduction. Even if speculative, Peircean philosophical results on visual abduction certainly anticipate various tenets of recent cognitive research. (shrink)

Several recent books indicate that the philosophy of art has embarked upon a new alliance with cognitive science. One impetus for this is the move, beginning in the 70s and 80s, away from general aesthetics to a greater concern with the philosophies of the individual arts. Questions about the nature of art, expression, aesthetic experience and aesthetic properties as generic phenomena are still with us but many philosophers now approach them by means of specialized studies of music, literature, (...) film, the visual arts or the performing arts. Some claim that these questions can only be answered, or can best be answered, by studying the individual art forms. This has brought aesthetics into alignment with empirical research, which has always been concerned with individual art forms, for reasons having to do both with experimental design and with views of the mind as functionally differentiated. There is no psychological work on the perception of beauty, for example, but only on the perception of visual beauty, beauty in music and the like. Now that aesthetics is equally specialized, empirical research on the individual arts can be brought to bear upon familiar problems in aesthetics. (shrink)

All too often, we think of our minds and bodies separately. The reality couldn’t be more different: the fundamental fact about our mind is that it is embodied. We have a deep visceral, emotional, and qualitative relationship to the world—and any scientifically and philosophically satisfactory view of the mind must take into account the ways that cognition, meaning, language, action, and values are grounded in and shaped by that embodiment. This book gathers the best of philosopher Mark Johnson’s essays addressing (...) questions of our embodiment as they deal with aesthetics—which, he argues, we need to rethink so that it takes into account the central role of body-based meaning. Viewed that way, the arts can give us profound insights into the processes of meaning making that underlie our conceptual systems and cultural practices. Johnson shows how our embodiment shapes our philosophy, science, morality, and art; what emerges is a view of humans as aesthetic, meaning-making creatures who draw on their deepest physical processes to make sense of the world around them. (shrink)

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.