There are several models of the use of geometric and feature cues in reorientation. The adaptive combination approach posits that people integrate cues with weights that depend on cue salience and learning, or, when discrepancies are large, they choose between cues based on these variables. In a new paradigm designed to evaluate integration and choice, disoriented participants attempted to return to a heading direction, in a trapezoidal enclosure in which feature and geometric cues both unambiguously specified a heading, but later (...) the feature was moved. With discrepancies greater than 90 degrees, participants choose geometry. With smaller discrepancies, integration appeared in three of five situations; otherwise, participants used geometry alone. Variation depended on direction of feature movement and whether the nearest corner was acute or obtuse. The results have implications for contrasting adaptive combination and modularity theory, and for future research, offering a new paradigm for reorientation research, and for testing cue integration more broadly. (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)