The English language now dominates scientific communications. Yet, many scientists have English as their second language. Their English proficiency may therefore often be more limited than that of a ‘native speaker’, and their scientific contributions (e.g. manuscripts) in English may frequently contain linguistic features that disrupt the fluency of a reader’s, or listener’s information processing even when the contributions are understandable. Scientific gatekeepers (e.g. journal reviewers) sometimes cite these features to justify negative decisions on manuscripts. Such justifications may rest on (...) the prima facie plausible assumption that linguistic characteristics that hinder fast and easy understandability of scientific contributions are epistemically undesirable in science. I shall raise some doubts about this assumption by drawing on empirical research on processing fluency and its biasing effects. I also argue that directing scientists with English as a foreign language toward approaching ‘native-level’ English can have the negative consequence of reducing their potential to make scientific belief formation more reliable. These points suggest that one seemingly compelling justification for linguistically discriminating against scientific contributions in ‘non-native’ English is questionable and that the common insistence by scientific gatekeepers on ‘native-like’ English may be epistemically harmful to science. (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)

Consciousness can be measured in various ways, but different measures often yield different conclusions about the extent to which awareness relates to performance. Here, we compare five different subjective measures of awareness in the context of an artificial grammar learning task. Participants expressed their subjective awareness of rules using one of five different scales: confidence ratings , post-decision wagering , feeling of warmth , rule awareness , and continuous scale . All scales were equally sensitive to conscious knowledge. PDW, however, (...) was affected by risk aversion, and both RAS and SDS applied different minimal criteria for rule awareness. CR seems to capture the largest range of consciousness, but failed to indicate unconscious knowledge with the guessing criterion. We close by discussing the theoretical implications of scale sensitivity and propose that CR’s unique features enable a finer assessment of subjective states of awareness. (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)

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.