To understand the endogenous components of the event-related brain potential (ERP), we must use data about the components' antecedent conditions to form hypotheses about the information-processing function of the underlying brain activity. These hypotheses, in turn, generate testable predictions about the consequences of the component. We review the application of this approach to the analysis of the P300 component. The amplitude of the P300 is controlled multiplicatively by the subjective probability and the task relevance of the eliciting events, whereas its (...) latency depends on the duration of stimulus evaluation. These and other factors suggest that the P300 is a manifestation of activity occurring whenever one's model of the environment must be revised. Tests of three predictions based on this “context updating” model are reviewed. Verleger's critique is based on a misconstrual of the model as well as a partial and misleading reading of the relevant literature. (shrink)

The two most common names to invoke for a perceptualist aesthetics are Rudolf Arnheim and E. H. Gombrich. But the similaritied and differences between them have never been explicitly drawn. This paper undertakes such an analysis based on the three categories of representation, expression and historical objectivity. Arnheim's less stringent solutions to the problems of representation and expression are applauded but Gombrich's unique attempt to ground both of these categories in a form amenable to non-historicist approach to history are also (...) praised. Gombrich's anti-historicism derives from Karl Popper and Arnheim is fleshed out with the theories of Maurice Mandelbaum. The parallel comparison of Popper-Mandelbaum helps to underscore differences and show an alternative to Gombrich and Popper's nominalism. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

This paper fills a gap in Flusser scholarship by conducting an initial comparison of Flusser with Rudolf Arnheim. After noting their similar approaches – open both to science and phenomenology – it looks closely at each theorist’s respective theory of photography. They differ in that Flusser believes that the photography as a technical apparatus is not objective. However, with some contextualization each can be seen to say complementary things. Reflecting on each theorist’s cautiously optimistic or pessimistic approach to evolving media, (...) the paper concludes with thoughts on how they give helpful ideas on how to flesh out aspects of the other’s thought. (shrink)

There may be a common root from which art and science stem: the creativity which distinguishes the human being from the animal due to the element of intentionality in the creative act. Two kinds of creativities lead to completely different results: artistic activity is totally gratuitous, while science aims at attaining a specific end.

P3 is the most prominent of the electrical potentials of the human electroencephalogram that are sensitive to psychological variables. According to the most influential current hypothesis about its psychological significance [E. Donchin's], the “context updating” hypothesis, P3 reflects the updating of working memory. This hypothesis cannot account for relevant portions of the available evidence and it entails some basic contradictions. A more general formulation of this hypothesis is that P3 reflects the updating of expectancies. This version implies that P3-evoking stimuli (...) are initially unexpected but later become expected. This contradiction cannot be resolved within this formulation. The alternative “context closure” hypothesis retains the concept of “strategic information processing” emphasized by the context updating hypothesis. P3s are evoked by events that are awaited when subjects deal with repetitive, highly structured tasks; P3s arise from subjects' combining successive stimuli into larger units. The tasks in which P3s are elicited can accordingly be classified in terms of their respective formal sequences of stimuli. P3 may be a physiological indicator of excess activation being released from perceptual control areas. (shrink)

Johann Wolfgang von Goethe's approach to science is a radical departure from the Cartesian-Newtonian scientific framework and offers contemporary science a pathway toward the cultivation of an alternative approach to the study of the natural world. This paper argues that the Cartesian-Newtonian pathway is pathological because it has as its premise humanity's alienation from the natural world, which sets up a host of consequences that terminate in nihilism. As an alternative approach to science, Goethe's "delicate empiricism" begins with the premise (...) that humanity is fundamentally at home in the world: a notion which forms the basis for a Goethean science that gives primacy to perception, offers a more organic and holistic conception of the universe, and has as its goal the cultivation of aesthetic appreciation and morally responsive obligation to the observed. As an antidote to nihilism and as the basis for a more fulfilling and morally responsive science, Goethean science may serve as a kind of cultural therapeutics, a project which is necessarily interdisciplinary since it requires the integration of multiple ways of seeing from the natural sciences, the human sciences, and the humanities. (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)

It is a commonplace that “the map is not the territory.” The phrase goes back to Alfred Korzybski, while the insight—formulated by insisting on an apparent triviality—is surely older and has received poetical expressions from Lewis Carroll and Jorge Luis Borges among others. The difference between map and territory is a difference of categories and is at the base of the representation relation. Hence maps play a prominent role in the discourse about representation which takes place in a number of (...) disciplines and from different perspectives. Three of them are of special interest for the present paper.One influential view has been put forward by historian of art Ernst Gombrich in his classical lecture on.. (shrink)