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  1. Aesthetic Conception of Russian Formalism: The Cognitive View.Valerij Gretchko - 2003 - Sign Systems Studies 31 (2):523-531.
    At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; some of the main principles of the Formalist theory permit the (...)
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  • Aesthetic Value of Paintings Affects Pain Thresholds ☆.Marina de Tommaso, Michele Sardaro & Paolo Livrea - 2008 - Consciousness and Cognition 17 (4):1152-1162.
    Pain is modulated by cognitive factors, including attention and emotions. In this study we evaluated the distractive effect of aesthetic appreciation on subjectively rated pain and multi-channel evoked potentials induced by CO2 laser stimulation of the left hand in twelve healthy volunteers. Subjects were stimulated by laser in the absence of other external stimulation and while looking at different paintings they had previously rated as beautiful, neutral or ugly. The view of paintings previously appreciated as beautiful produced lower pain scores (...)
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  • A Theoretical Framework for How We Learn Aesthetic Values.Hassan Aleem, Ivan Correa-Herran & Norberto M. Grzywacz - 2020 - Frontiers in Human Neuroscience 14.
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  • The Legacy Conference: Report on The Science of Consciousness Conference, La Jolla, California, 2017.Gregory Nixon - 2017 - Journal of Consciousness Studies 24 (9-10):253-277.
    The ‘Toward a Science of Consciousness’ conference – which has now become ‘The Science of Consciousness’ conference – recently (June 5-10, 2017) took place instead at the receptive venue of the Hyatt Regency in La Jolla, California. It was well-planned and organized, which is extraordinary considering that it had to be organized all over again within a month or two when the original Shanghai location was cancelled. Things ran smoothly at La Jolla and it was well attended for an odd-year, (...)
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  • Neuroaesthetics.Anjan Chatterjee & Oshin Vartanian - 2014 - Trends in Cognitive Sciences 18 (7):370-375.
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  • The Cognitive Import of the Narrative Schema.Peer F. Bundgaard - 2007 - Semiotica 2007 (165):247-261.
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  • Semiosis, Art, and Literature.Barend van Heusden - 2007 - Semiotica 2007 (165):133-147.
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  • Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...)
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  • History and Intentions in the Experience of Artworks.Alessandro Pignocchi - 2014 - Topoi 33 (2):477-486.
    The role of personal background knowledge--in particular knowledge about the context of production of an artwork--has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches' explanatory power and framing their collaboration with the humanities (Bullot and Reber, in press). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal (...)
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  • Building Bridges.Ivar Hagendoorn - 2001 - Trends in Cognitive Sciences 5 (12):548-549.
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  • Beauty and Beholders: Are Past Intuitions Correct?Owen Ewald & Ursula Krentz - 2012 - Essays in Philosophy 13 (2):5.
    This essay discusses four definitions of beauty from Western philosophy in light of recent experimental work from the more modern fields of psychology and biology. The first idea, derived from Plato, that beauty consists of relationships between parts, is partially confirmed by recent psychological experiments on infants and adults. The second idea, that beauty consists of one salient feature amid a mass of details, is more recent, perhaps from Hume, and is confirmed by some experiments on adults, but this finding (...)
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  • Neurohermeneutics A Transdisciplinary Approach to Literature.Renata Gambino & Grazia Pulvirenti - 2019 - Gestalt Theory 41 (2):185-200.
    Summary In the epistemic frame of the biocultural turn and of the neuroaesthetics, we have developed neurohermeneutics as an approach to literature that aims at contributing to the current debate about the linkage between literary, cognitive and neuroscientific studies, focusing on the relationship between mindbrain processes mirrored in the formal features of the text and the strategies activated by the author in a text in order to guide the reader in imagining, emotionally feeling and cognitively getting meanings out of the (...)
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  • Blaming the Victims of Your Own Mistakes: How Visual Search Accuracy Influences Evaluation of Stimuli.Andrey Chetverikov, Ómar I. Jóhannesson & Árni Kristjánsson - 2015 - Cognition and Emotion 29 (6):1091-1106.
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  • Art as a Metaphor of the Mind: A Neo-Jamesian Aesthetics Embracing Phenomenology, Neuroscience, and Evolution.Andrea Lavazza - 2008 - Phenomenology and the Cognitive Sciences 8 (2):159-182.
    This paper focuses on the emergent neo-Jamesian perspective concerning the phenomenology of art and aesthetic experience. Starting from the distinction between nucleus and fringe in the stream of thought described by William James, it can be argued that our appreciation of a work of art is guided by a vague and blurred perception of a much more powerful content, of which we are not fully aware. Accordingly, a work of art is seen as a kind of metaphor of our mental (...)
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  • Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor.Marco Bertamini & Colin Blakemore - 2019 - Frontiers in Psychology 10.
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  • Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...)
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  • Up the Nose of the Beholder? Aesthetic Perception in Olfaction as a Decision-Making Process.Ann-Sophie Barwich - 2017 - New Ideas in Psychology 47:157-165.
    Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I argue that the (...)
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  • Aesthetics and Cognitive Science.Dustin Stokes - 2009 - Philosophy Compass 4 (5):715-733.
    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 (...)
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  • Three Laws of Qualia: What Neurology Tells Us About the Biological Functions of Consciousness.Vilayanur S. Ramachandran & William Hirstein - 1997 - Journal of Consciousness Studies 4 (5-6):429-457.
    Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or (...)
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  • Educating the Design Stance: Issues of Coherence and Transgression. Commentary on Bullot & Reber.Norman H. Freeman & Melissa L. Allen - forthcoming - Behavioral and Brain Sciences.
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  • Neuroart: Picturing the Neuroscience of Intentional Actions in Art and Science.Todd Siler - 2015 - Frontiers in Human Neuroscience 9.
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  • What is Art? A Methodological Framework for a Pluridisciplinary Investigation.Alessandro Pignocchi - unknown
    Over the last decades, disciplines such as cognitive psychology, evolutionary psychology and the neurosciences have shown an increasing interest for art. It remains unclear what kind of relation these "young disciplines" should have with more traditional endeavors and, more generally, in which way they can enrich our understanding of art. In this paper, I lay down the foundations of a methodological framework which distinguishes between three basic topics: the investigation of the cognitive phenomena elicited by the experience of things that (...)
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  • The Functional Role of Emotions in Aesthetic Judgement.Ioannis Xenakis, Argyris Arnellos & John Darzentas - 2012 - New Ideas in Psychology 30 (2).
    Exploring emotions, in terms of their evolutionary origin; their basic neurobiological substratum, and their functional significance in autonomous agents, we propose a model of minimal functionality of emotions. Our aim is to provide a naturalized explanation – mostly based on an interactivist model of emergent representation and appraisal theory of emotions – concerning basic aesthetic emotions in the formation of aesthetic judgment. We suggest two processes the Cognitive Variables Subsystem (CVS) which is fundamental for the accomplishment of the function of (...)
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  • Musings About Beauty.Walter Kintsch - 2012 - Cognitive Science 36 (4):635-654.
    In this essay, I explore how cognitive science could illuminate the concept of beauty. Two results from the extensive literature on aesthetics guide my discussion. As the term “beauty” is overextended in general usage, I choose as my starting point the notion of “perfect form.” Aesthetic theorists are in reasonable agreement about the criteria for perfect form. What do these criteria imply for mental representations that are experienced as beautiful? Complexity theory can be used to specify constraints on mental representations (...)
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  • Aesthetics as an Emotional Activity That Facilitates Sense-Making: Towards an Enactive Approach to Aesthetic Experience.Ioannis Xenakis & Argyris Arnellos - 2015 - Springer.
    Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer (...)
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  • Micro-Valences: Perceiving Affective Valence in Everyday Objects.Sophie Lebrecht, Moshe Bar, Lisa Feldman Barrett & Michael J. Tarr - 2012 - Frontiers in Psychology 3.
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  • Communication Advantages of Line Drawings.Roberto Casati & Alessandro Pignocchi - unknown
    This paper investigates a the cognitive foundations of a pragmatic account of line drawings. It sets to highlight those features of line drawings that make them, as opposed to other types of visual representations, particularly conducive to communication. It is argued that representational and artifactual properties of drawings must be investigated together in order to understand the peculiarities of drawings as communicative tools.
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  • Combining Universal Beauty and Cultural Context in a Unifying Model of Visual Aesthetic Experience.Christoph Redies - 2015 - Frontiers in Human Neuroscience 9.
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  • Cognitive Processes Underlying the Artistic Experience.Alejandra Wah - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):45-58.
    Based on the field of aesthetics, for centuries philosophers and more recently scientists have been concerned with understanding the artistic experience focusing on emotional responses to the perception of artworks. By contrast, in the last decades, evolutionary biology has been concerned with explaining the artistic experience by focusing on the cognitive processes underlying this experience. Up until now, the cognitive mechanisms that allow humans to experience objects and events as art remain largely unexplored and there is still no conventional use (...)
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  • The Epistemic Misuse & Abuse of Pictorial Caricature.Christy Mag Uidhir - 2013 - American Philosophical Quarterly 50 (2):137-152.
    I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...)
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  • Neurocognitive Poetics: Methods and Models for Investigating the Neuronal and Cognitive-Affective Bases of Literature Reception.Arthur M. Jacobs - 2015 - Frontiers in Human Neuroscience 9.
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  • The Aesthetic Stance - on the Conditions and Consequences of Becoming a Beholder.Maria Brincker - 2015 - In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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  • The Role of the Visual Arts in the Enhancing the Learning Process.Christopher W. Tyler & Lora T. Likova - 2012 - Frontiers in Human Neuroscience 6.
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  • Perceptual Principles as the Basis for Genuine Judgments of Beauty.Jennifer A. McMahon - 2000 - Journal of Consciousness Studies 7 (8-9):8-9.
    This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other closely related phenomena. I (...)
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  • Dreaming and Neuroesthetics.Umberto Barcaro & Marco Paoli - 2015 - Frontiers in Human Neuroscience 9.
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  • How the Intentions of the Draftsman Shape Perception of a Drawing.Alessandro Pignocchi - 2010 - Consciousness and Cognition 19 (4):887-898.
    The interaction between the recovery of the artist’s intentions and the perception of an artwork is a classic topic for philosophy and history of art. It also frequently, albeit sometimes implicitly, comes up in everyday thought and conversation about art and artworks. Since recent work in cognitive science can help us understand how we perceive and understand the intentions of others, this discipline could fruitfully participate in a multidisciplinary investigation of the role of intention recovery in art perception. The method (...)
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  • The Right Hemisphere in Esthetic Perception.Bianca Bromberger, Rebecca Sternschein, Page Widick, William Smith & Anjan Chatterjee - 2011 - Frontiers in Human Neuroscience 5.
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  • Crossing Boundaries: Toward a General Model of Neuroaesthetics.Manuela M. Marin - 2015 - Frontiers in Human Neuroscience 9.
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  • Instagram Likes for Architectural Photos Can Be Predicted by Quantitative Balance Measures and Curvature.Katja Thömmes & Ronald Hübner - 2018 - Frontiers in Psychology 9.
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  • Barbara Maria Stafford,Echo Objects: The Cognitive Work of Images.Leah Gruenpeter-Gold - 2011 - Pragmatics and Cognition 19 (1):159-173.
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  • The Necessity of Ambiguity in Self–Other Processing: A Psychosocial Perspective With Implications for Mental Health.Christophe Emmanuel de Bézenac, Rachel Ann Swindells & Rhiannon Corcoran - 2018 - Frontiers in Psychology 9.
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  • Contributions of Neuropsychology to the Study of Ancient Literature.Franco Fabbro, Anastasia Fabbro & Cristiano Crescentini - 2018 - Frontiers in Psychology 9.
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  • Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance.Allen Fogelsanger & Kathleya Afanador - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):59-73.
    Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant research in perception, (...)
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  • Some Speculative Hypotheses About the Nature and Perception of Dance and Choreography.Ivar Hagendoorn - 2004 - Journal of Consciousness Studies 11 (3-4):3-4.
    Ever since I first saw a dance performance I have wondered why it is that I am sometimes fascinated and touched by some people moving about on a stage, while at other times it leaves me completely indifferent. I will argue that an answer to this question has to be searched for in the way sensory stimuli are processed in the brain. After all, all our actions, perceptions and feelings are mediated and controlled by the brain. The thoughts and feelings (...)
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  • Meanings of Art: Essays in Aesthetics.Mark Packer - 2017 - British Journal of Aesthetics 57 (2):234-237.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comMeanings of Art is an engaging collection of essays that covers a broad spectrum of topics, ranging from the philosophy of literature to neuro-aesthetics. Emerging sporadically over the course of 20 years, the stand-alone essays that comprise this volume display little evidence of a sustained, systematic thesis. But this is part of what constitutes the (...)
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  • Common Minds, Uncommon Thoughts: A Philosophical Anthropological Investigation of Uniquely Human Creative Behavior, with an Emphasis on Artistic Ability, Religious Reflection, and Scientific Study.Johan De Smedt - unknown
    The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have sought to (...)
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  • Constituents of Music and Visual-Art Related Pleasure – A Critical Integrative Literature Review.Marianne Tiihonen, Elvira Brattico, Johanna Maksimainen, Jan Wikgren & Suvi Saarikallio - 2017 - Frontiers in Psychology 8.
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  • Complementarity As Generative Principle: A Thought Pattern for Aesthetic Appreciations and Cognitive Appraisals in General.Yan Bao, Alexandra von Stosch, Mona Park & Ernst Pöppel - 2017 - Frontiers in Psychology 8.
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  • Sensory Exploitation: Underestimated in the Evolution of Art as Once in Sexual Selection Theory?Jan Verpooten & Mark Nelissen - unknown
    In this paper we argue that sensory exploitation, a model from sexual selection theory, deserves more attention in evolutionary thinking about art than it has up until now. We base our argument on the observation that in the past sensory exploitation may have been underestimated in sexual selection theory but that it is now winning field. Likewise, we expect sensory exploitation can play a more substantial role in modeling the evolution of art behavior. Darwin's theory of sexual selection provides a (...)
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  • Processing Fluency as the Source of Experiences at the Fringe of Consciousness.Rolf Reber, Tedra Fazendeiro & Piotr Winkielman - 2002 - PSYCHE: An Interdisciplinary Journal of Research On Consciousness 8.
    We extend Mangan's account of fringe consciousness by discussing our work on processing experiences. Our research shows that variations in speed at different stages of perceptual processing can jointly contribute to subjective processing ease, supporting Mangan's notion that different mental processes condense into one subjective experience. We also discuss our studies showing that facilitation of perceptual processing leads to positive affect, supporting Mangan's suggestion that an evaluative component is built into cognitive phenomenology. Finally, we review research demonstrating that people draw (...)
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