Cognitive Science, Volume 46, Issue 1, January 2022.

The notion of domain specificity plays a central role in some of the most important debates in cognitive science. Yet, despite the widespread reliance on domain specificity in recent theorizing in cognitive science, this notion remains elusive. Critics have claimed that the notion of domain specificity can't bear the theoretical weight that has been put on it and that it should be abandoned. Even its most steadfast proponents have highlighted puzzles and tensions that arise once one tries to go beyond (...) an initial intuitive sketch of what domain specificity involves. In this paper, we address these concerns head on by developing an account of what it means for a cognitive mechanism to be domain specific that overcomes the obstacles that have made domain specificity seem so problematic. We then apply this understanding of domain specificity to one of the key debates that it has figured prominently in—the rationalism-empiricism debate concerning the origins of cognitive traits—and introduce several related theoretical notions that work alongside domain specificity in helping to clarify what makes a view more (or less) rationalist. This example illustrates how the notion of domain specificity can, and should, continue to play a central role in ongoing debates in cognitive science. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)