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.

Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...) (2) which aspects of music matter most for preference formation. Two aspects of music are tested: melody and harmony. In Experiment 1 we tested the learning and liking of a new musical system that is manipulated melodically so that only some of the possible conditional probabilities between successive notes are presented. In Experiment 2 we administered the same tests for learning and liking, but we used a musical system that is manipulated harmonically to eliminate the property of harmonic whole-integer ratios between pitches. Results show that disrupting melody (Experiment 1) disabled the learning of music without disrupting preference formation, whereas disrupting harmony (Experiment 2) does not affect learning and memory but disrupts preference formation. Results point to a possible dissociation between learning and preference in musical knowledge. (shrink)

We are sympathic with LeDoux’s primary goal here ─ to get a solid scientific grip on what has been dubbed one of the most elusive, important questions in scientific discourse, to identify the underlying biomolecular processes that give rise to consciousness. However, we have issues with the way he goes about it and have tried to present them in a constructive manner. Our commentary is built around our theory of the origins of minds, dubbed the Cellular Basis of Consciousness (CBC), (...) and the empirical research that supports it. The CBC is based on the proposition that life and sentience are co-terminous, that life without subjectivity, feeling, without valenced perception, without the capacity to learn and lay down memories would have been an evolutionary dead-end. It could not have survived in the hostile, chaotic world in flux that dominated our planet four billion years ago. The biological sciences operate on the principle that all species, extant and extinct, evolved from the first prokaryotes. The CBC theory is founded on the principle that all expressions of emotion, perception, and cognition did as well. (shrink)

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical and asymmetrical sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of (...) participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure. (shrink)

A common view holds that consciousness is needed for knowledge acquired in one domain to be applied in a novel domain. We present evidence for the opposite; where the transfer of knowledge is achieved only in the absence of conscious awareness. Knowledge of artificial grammars was examined where training and testing occurred in different vocabularies or modalities. In all conditions grammaticality judgments attributed to random selection showed above-chance accuracy , while those attributed to conscious decisions did not. Participants also rated (...) each string’s familiarity and performed a perceptual task assessing fluency. Familiarity was predicted by repetition structure and was thus related to grammaticality. Fluency, though increasing familiarity, was unrelated to grammaticality. While familiarity predicted all judgments only those attributed to random selection showed a significant additional contribution of grammaticality, deriving primarily from chunk novelty. In knowledge transfer, as in visual perception , the unconscious may outperform the conscious. (shrink)

The influence of prior familiarity with components on the implicit learning of relations was examined using artificial grammar learning. Prior to training on grammar strings, participants were familiarised with either the novel symbols used to construct the strings or with irrelevant geometric shapes. Participants familiarised with the relevant symbols showed greater accuracy when judging the correctness of new grammar strings. Familiarity with elemental components did not increase conscious awareness of the basis for discriminations but increased accuracy even in its absence. (...) The subjective familiarity of test strings predicted grammaticality judgments. However, prior exposure to relevant symbols did not increase overall test string familiarity or reliance on familiarity when making grammaticality judgments. Familiarity with the symbols increased the learning of relations between them thus resulting in greater familiarity for grammatical versus ungrammatical strings. The results have important implications for models of implicit learning. (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)

Reber and Collins are each major researchers in psychology and sociology respectively. Both focus on the analysis and investigation of tacit knowledge. Yet neither had read or cited the other’s work. Here we explore how this similarity of interest can coexist in the midst of ignorance. Over many months we explored the differences in our world views, our approaches to the topic and the difficulties of interdisciplinarity. This paper is a summary of that exchange presented as a kind of case-study (...) in doing science. We conclude with a list of the general properties of the dialogue associated with this kind of “incommensurability” and state our distaste for tribalism in academic life. (shrink)

Participants were unknowingly exposed to complex regularities in a working memory task. The existence of implicit knowledge was subsequently inferred from a preference for stimuli with similar grammatical regularities. Several affective traits have been shown to influence AGL performance positively, many of which are related to a tendency for automatic responding. We therefore tested whether the mindfulness trait predicted a reduction of grammatically congruent preferences, and used emotional primes to explore the influence of affect. Mindfulness was shown to correlate negatively (...) with grammatically congruent responses. Negative primes were shown to result in faster and more negative evaluations. We conclude that grammatically congruent preference ratings rely on habitual responses, and that our findings provide empirical evidence for the non-reactive disposition of the mindfulness trait. (shrink)