In this article, we examine how affect influences judgment and thought, but also how thought transforms affect. The general thesis is that the nature and impact of affective reactions depends largely on their objects. We view affect as a representation of value, and its consequences as dependent on its object or what it is about. Within a review of relevant literature and a discussion of the nature of emotion, we focus on the role of the object of affect in governing (...) both the nature of emotional reactions and the impact of affect and emotion on cognition and action. Although emotion is always about the here and now, the capacity for abstract thought means that the human here and now includes imagination as well as perception. Indeed, the hopes and fears that dominate human lives often involve things only imagined. (shrink)

Brains, it has recently been argued, are essentially prediction machines. They are bundles of cells that support perception and action by constantly attempting to match incoming sensory inputs with top-down expectations or predictions. This is achieved using a hierarchical generative model that aims to minimize prediction error within a bidirectional cascade of cortical processing. Such accounts offer a unifying model of perception and action, illuminate the functional role of attention, and may neatly capture the special contribution of cortical processing to (...) adaptive success. This target article critically examines this approach, concluding that it offers the best clue yet to the shape of a unified science of mind and action. Sections 1 and 2 lay out the key elements and implications of the approach. Section 3 explores a variety of pitfalls and challenges, spanning the evidential, the methodological, and the more properly conceptual. The paper ends (sections 4 and 5) by asking how such approaches might impact our more general vision of mind, experience, and agency. (shrink)

Change blindness is the striking failure to see large changes that normally would be noticed easily. Over the past decade this phenomenon has greatly contributed to our understanding of attention, perception, and even consciousness. The surprising extent of change blindness explains its broad appeal, but its counterintuitive nature has also engendered confusions about the kinds of inferences that legitimately follow from it. Here we discuss the legitimate and the erroneous inferences that have been drawn, and offer a set of requirements (...) to help separate them. In doing so, we clarify the genuine contributions of change blindness research to our understanding of visual perception and awareness, and provide a glimpse of some ways in which change blindness might shape future research. (shrink)

Large changes that occur in clear view of an observer can become difficult to notice if made during an eye movement, blink, or other such disturbance. This change blindness is consistent with the proposal that focused visual attention is necessary to see change, with a change becoming difficult to notice whenever conditions prevent attention from being automatically drawn to it. -/- It is shown here how the phenomenon of change blindness can provide new results on the nature of visual attention, (...) including estimates of its capacity and the extent to which it can bind visual properties into coherent descriptions. It is also shown how the resultant characterization of attention can in turn provide new insights into the role that it plays in the perception of scenes and events. (shrink)

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)