All thinking is done by our brains. They are also responsible for our feelings of love and hate, and for our ability to make and appreciate art. But there is a popular reluctance to credit the brain with some of these so-called higher functions. We have difficulty associating our appreciation of beauty with electrical impulses propagating down nerve fibres. We don't see love as residing in the organ that is hidden away inside the skull, where it sits, shaped like a (...) boxing glove, grey, motionless, and seemingly inert. Instead, the icon of love is that fist-sized muscle in your chest. (shrink)

Fourteen of the American philosopher's most influential essays appear here, offering profound reflections on many different aspects of knowledge, reality, and epistemology. These papers on experimental logic are rooted in the implication that possession of knowledge implies a judgment, resulting from an inquiry or investigation. The presence of this "inquiry stage" suggests an intermediate and mediating phase between the external world and knowledge, an area conditioned by other factors. Expanding upon this basis, these essays consider the relationship of thought and (...) its subject matter; the antecedents and stimuli of thought, data, and meanings; the objects of thought; control of ideas by facts; and similar topics. Unabridged republication of the classic 1916 edition. (shrink)

Current philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to Art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of (...) fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of "somaesthetics," charting the complex network of bodily arts so prominent in contemporary life and self-styling. By blending concrete aesthetic analysis with insightful social critique, Shusterman, a well-known pragmatist philosopher, provides a rich menu and critical guide for today's pursuit of the art of living. (shrink)

The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.

Most previous research on human cognition has focused on problem-solving, and has confined its investigations to the laboratory. As a result, it has been difficult to account for complex mental processes and their place in culture and history. In this startling - indeed, disco in forting - study, Jean Lave moves the analysis of one particular form of cognitive activity, - arithmetic problem-solving - out of the laboratory into the domain of everyday life. In so doing, she shows how mathematics (...) in the 'real world', like all thinking, is shaped by the dynamic encounter between the culturally endowed mind and its total context, a subtle interaction that shapes 1) Both tile human subject and the world within which it acts. The study is focused on mundane daily, activities, such as grocery shopping for 'best buys' in the supermarket, dieting, and so on. Innovative in its method, fascinating in its findings, the research is above all significant in its theoretical contributions. Have offers a cogent critique of conventional cognitive theory, turning for an alternative to recent social theory, and weaving a compelling synthesis from elements of culture theory, theories of practice, and Marxist discourse. The result is a new way of understanding human thought processes, a vision of cognition as the dialectic between persons-acting, and the settings in which their activity is constituted. The book will appeal to anthropologists, for its novel theory of the relation of cognition to culture and context; to cognitive scientists and educational theorists; and to the 'plain folks' who form its subject, and who will recognize themselves in it, a rare accomplishment in the modern social sciences. (shrink)

"There are books—few and far between—which carefully, delightfully, and genuinely turn your head inside out. This is one of them. It ranges over some central issues in Western philosophy and begins the long overdue job of giving us a radically new account of meaning, rationality, and objectivity."—Yaakov Garb, _San Francisco Chronicle_.

This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...) author suggests that natural vision depends on the eyes in the head on a body supported by the ground, the brain being only the central organ of a complete visual system. When no constraints are put on the visual system, people look around, walk up to something interesting and move around it so as to see it from all sides, and go from one vista to another. That is natural vision—and what this book is about. (shrink)

Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...) sort of externalism: an _active externalism_, based on the active role of the environment in driving cognitive processes. (shrink)

Artificial intelligence research has foundered on the issue of representation. When intelligence is approached in an incremental manner, with strict reliance on interfacing to the real world through perception and action, reliance on representation disappears. In this paper we outline our approach to incrementally building complete intelligent Creatures. The fundamental decomposition of the intelligent system is not into independent information processing units which must interface with each other via representations. Instead, the intelligent system is decomposed into independent and parallel activity (...) producers which all interface directly to the world through perception and action, rather than interface to each other particularly much. The notions of central and peripheral systems evaporateeverything is both central and peripheral. Based on these principles we have built a very successful series of mobile robots which operate without supervision as Creatures in standard office environments. (shrink)

Recently, it has been suggested that at least somekinds of mental representation are strongly context-dependent. Not only what is represented, but also how, depends on the context and the subject's interaction with it. Theories about situated cognition stress the importance of the subject's bodily presence and physical activity in the environment for representing and thinking. What does this mean for creativity? Context-dependence can, it seems, both impede and support creativity. Is creativity a higher-level cognitive function, or does it mainly rely (...) on good old-fashioned know-how? (shrink)

We trace the difference between the ways in which apes and humans co–operate to differences in communicative abilities, claiming that the pressure for future–directed co–operation was a major force behind the evolution of language. Competitive co–operation concerns goals that are present in the environment and have stable values. It relies on either signalling or joint attention. Future–directed co–operation concerns new goals that lack fixed values. It requires symbolic communication and context–independent representations of means and goals. We analyse these ways of (...) co–operating in game–theoretic terms and submit that the co–operative strategy of games that involve shared representations of future goals may provide new equilibrium solutions. (shrink)

Dans Folioplus philosophie, le texte philosophique, associé une oeuvre d'art qui l'éclaire et le questionne, est suivi d'un dossier organisé en six points :Les mots du texte : Corps, entrelacs (chiasme), chair ; L'œuvre dans l'histoire des idées ; La figure du philosophe ; Trois questions posées au texte : Y a-t-il une chair de l'image? L'accès à l'être implique-t-il la neutralisation du sensible? Y a-t-il une chair de l'histoire? ; Groupement de textes : L'écriture et l'image: l'existence, la mort (...) ; Prolongements. (shrink)

The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.

Hutchins examines a set of phenomena that have fallen between the established disciplines of psychology and anthropology, bringing to light a new set of relationships between culture and cognition.

How the Body Shapes the Mind is an interdisciplinary work that addresses philosophical questions by appealing to evidence found in experimental psychology, neuroscience, studies of pathologies, and developmental psychology. There is a growing consensus across these disciplines that the contribution of embodiment to cognition is inescapable. Because this insight has been developed across a variety of disciplines, however, there is still a need to develop a common vocabulary that is capable of integrating discussions of brain mechanisms in neuroscience, behavioural expressions (...) in psychology, design concerns in artificial intelligence and robotics, and debates about embodied experience in the phenomenology and philosophy of mind. Shaun Gallagher's book aims to contribute to the formulation of that common vocabulary and to develop a conceptual framework that will avoid both the overly reductionistic approaches that explain everything in terms of bottom-up neuronal mechanisms, and inflationistic approaches that explain everything in terms of Cartesian, top-down cognitive states. Gallagher pursues two basic sets of questions. The first set consists of questions about the phenomenal aspects of the structure of experience, and specifically the relatively regular and constant features that we find in the content of our experience. If throughout conscious experience there is a constant reference to one's own body, even if this is a recessive or marginal awareness, then that reference constitutes a structural feature of the phenomenal field of consciousness, part of a framework that is likely to determine or influence all other aspects of experience. The second set of questions concerns aspects of the structure of experience that are more hidden, those that may be more difficult to get at because they happen before we know it. They do not normally enter into the content of experience in an explicit way, and are often inaccessible to reflective consciousness. To what extent, and in what ways, are consciousness and cognitive processes, which include experiences related to perception, memory, imagination, belief, judgement, and so forth, shaped or structured by the fact that they are embodied in this way? (shrink)

Linking the process of rational decision making to emotions, an award-winning scientist who has done extensive research with brain-damaged patients notes the dependence of thought processes on feelings and the body's survival-oriented regulators. 50,000 first printing.

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

All thinking is done by our brains. They are also responsible for our feelings of love and hate, and for our ability to make and appreciate art. But there is a popular reluctance to credit the brain with some of these so-called higher functions. We have difficulty associating our appreciation of beauty with electrical impulses propagating down nerve fibres. We don't see love as residing in the organ that is hidden away inside the skull, where it sits, shaped like a (...) boxing glove, grey, motionless, and seemingly inert. Instead, the icon of love is that fist-sized muscle in your chest. (shrink)

Descriptions of novice-expert differences, reasoning strategies, explanation-based learning, etc. are descriptions of how people create and use models within a representational language, when interacting with their environment in cycles of perceiving and acting. To complement these descriptions, we need to understand how representational languages are created.

What do linguistic symbols do for minds like ours, and how (if at all) can basic embodied, dynamical and situated approaches do justice to high-level human thought and reason? These two questions are best addressed together, since our answers to the first may inform the second. The key move in ‘scaling-up’ simple embodied cognitive science is, I argue, to take very seriously the potent role of human-built structures in transforming the spaces of human learning and reason. In particular, in this (...) paper I look at a range of cases involving what I dub ‘surrogate situations’. Here, we actively create restricted artificial environments that allow us to deploy basic perception-action- reason routines in the absence of their proper objects. Examples include the use of real-world models, diagrams and other concrete external symbols to support dense looping interactions with a variety of stable external structures that stand in for the absent states of affairs. (shrink)