The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

This book is an outstanding contribution to the philosophical study of language and mind, by one of the most influential thinkers of our time. In a series of penetrating essays, Chomsky cuts through the confusion and prejudice which has infected the study of language and mind, bringing new solutions to traditional philosophical puzzles and fresh perspectives on issues of general interest, ranging from the mind-body problem to the unification of science. Using a range of imaginative and deceptively simple linguistic analyses, (...) Chomsky defends the view that knowledge of language is internal to the human mind. He argues that a proper study of language must deal with this mental construct. According to Chomsky, therefore, human language is a 'biological object' and should be analyzed using the methodology of the sciences. His examples and analyses come together in this book to give a unique and compelling perspective on language and the mind. (shrink)

This volume contains twelve chapters on the derivation of and the correlates to verb initial word order. The studies in this volume cover such widely divergent languages as Irish, Welsh, Scots Gaelic, Old Irish, Biblical Hebrew, Jakaltek, Mam, Lummi (Straits Salish), Niuean, Malagasy, Palauan, K'echi', and Zapotec, from a wide variety of theoretical perspectives, including Minimalism, information structure, and sentence processing. The first book to take a crosslinguistic comparative approach to verb initial syntax, this volume provides new data to some (...) old problems anddebates and explores some innovative approaches to the derivation of verb initial order. (shrink)

In this account of the way in which we understand music, Laird Addis explains how sounds can have such profound effects on those listening to them.

The Minimalist Program for linguistic theory is Noam Chomsky's boldest and most radical version of his naturalistic approach to language. Cedric Boeckz examines its foundations, explains its underlying philosophy, exemplifies its methods, and considers the significance of its empirical results. He explores the roots and antecedents of the Program and shows how its methodologies parallel those of sciences such as physics and biology. He disentangles and clarifies current debates and issues around the nature of minimalist research in linguistics and shows (...) how the aims and ambitions of the Minimalist Program lie at the centre of the enterprise to understand how the human language faculty operates in the mind and is manifested in the world's languages.Professor Boeckx writes for advanced and graduate students of linguistics and for all those, in fields such as cognitive science and evolutionary biology, who want to know more about current developments in theoretical linguistics. (shrink)

Presenting a landmark in linguistics and cognitive science, Ray Jackendoff proposes a new holistic theory of the relation between the sounds, structure, and meaning of language and their relation to mind and brain. Foundations of Language exhibits the most fundamental new thinking in linguistics since Noam Chomsky's Aspects of the Theory of Syntax in 1965—yet is readable, stylish, and accessible to a wide readership. Along the way it provides new insights on the evolution of language, thought, and communication.

We propose that the crucial difference between human cognition and that of other species is the ability to participate with others in collaborative activities with shared goals and intentions: shared intentionality. Participation in such activities requires not only especially powerful forms of intention reading and cultural learning, but also a unique motivation to share psychological states with others and unique forms of cognitive representation for doing so. The result of participating in these activities is species-unique forms of cultural cognition and (...) evolution, enabling everything from the creation and use of linguistic symbols to the construction of social norms and individual beliefs to the establishment of social institutions. In support of this proposal we argue and present evidence that great apes understand the basics of intentional action, but they still do not participate in activities involving joint intentions and attention. Human children's skills of shared intentionality develop gradually during the first 14 months of life as two ontogenetic pathways intertwine: the general ape line of understanding others as animate, goal-directed, and intentional agents; and a species-unique motivation to share emotions, experience, and activities with other persons. The developmental outcome is children's ability to construct dialogic cognitive representations, which enable them to participate in earnest in the collectivity that is human cognition. Key Words: collaboration; cooperation; cultural learning; culture; evolutionary psychology; intentions; shared intentionality; social cognition; social learning; theory of mind; joint attention. (shrink)

Miller (1956) summarized evidence that people can remember about seven chunks in short-term memory (STM) tasks. However, that number was meant more as a rough estimate and a rhetorical device than as a real capacity limit. Others have since suggested that there is a more precise capacity limit, but that it is only three to five chunks. The present target article brings together a wide variety of data on capacity limits suggesting that the smaller capacity limit is real. Capacity limits (...) will be useful in analyses of information processing only if the boundary conditions for observing them can be carefully described. Four basic conditions in which chunks can be identified and capacity limits can accordingly be observed are: (1) when information overload limits chunks to individual stimulus items, (2) when other steps are taken specifically to block the recoding of stimulus items into larger chunks, (3) in performance discontinuities caused by the capacity limit, and (4) in various indirect effects of the capacity limit. Under these conditions, rehearsal and long-term memory cannot be used to combine stimulus items into chunks of an unknown size; nor can storage mechanisms that are not capacity-limited, such as sensory memory, allow the capacity-limited storage mechanism to be refilled during recall. A single, central capacity limit averaging about four chunks is implicated along with other, noncapacity-limited sources. The pure STM capacity limit expressed in chunks is distinguished from compound STM limits obtained when the number of separately held chunks is unclear. Reasons why pure capacity estimates fall within a narrow range are discussed and a capacity limit for the focus of attention is proposed. Key Words: attention; enumeration; information chunks; memory capacity; processing capacity; processing channels; serial recall; short-term memory; storage capacity; verbal recall; working memory capacity. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

In this classic, the world's expert on language and mind lucidly explains everything you always wanted to know about language: how it works, how children learn it, how it changes, how the brain computes it, and how it evolved. With deft use of examples of humor and wordplay, Steven Pinker weaves our vast knowledge of language into a compelling story: language is a human instinct, wired into our brains by evolution. The Language Instinct received the William James Book Prize from (...) the American Psychological Association and the Public Interest Award from the Linguistics Society of America. This edition includes an update on advances in the science of language since The Language Instinct was first published. (shrink)

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that includes (...) the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that includes (...) the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

Presenting the cultural and neuronal forces that power our distinctively human modes of awareness, the author proposes that the human mind is a hybrid product of interweaving a super-complex form of matter (the brain) with an invisible symbolic web (culture) to form a cognitive network. Reprint. 11,500 first printing.

Includes bibliographical references (p. [271]-285) and index.

The work of the artist and the science of vision may seem distantly related as subjects.

Chomsky proposes a reformulation of the theory of transformational generative grammar that takes recent developments in the descriptive analysis of particular ...

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, 'impressively atful minds'. Cognitively modern minds produced a staggering list of behavioural singularities - science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art - that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic (...) mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this book, which emerged from a year-long Getty-funded research project hosted by the Centre for Advanced Study in the Behavioural Sciences at Stanford. (shrink)

Ambitious and elegant, this book builds a bridge between evolutionary theory and cultural psychology. Michael Tomasello is one of the very few people to have done systematic research on the cognitive capacities of both nonhuman primates and human children. The Cultural Origins of Human Cognition identifies what the differences are, and suggests where they might have come from. -/- Tomasello argues that the roots of the human capacity for symbol-based culture, and the kind of psychological development that takes place within (...) it, are based in a cluster of uniquely human cognitive capacities that emerge early in human ontogeny. These include capacities for sharing attention with other persons; for understanding that others have intentions of their own; and for imitating, not just what someone else does, but what someone else has intended to do. In his discussions of language, symbolic representation, and cognitive development, Tomasello describes with authority and ingenuity the "ratchet effect" of these capacities working over evolutionary and historical time to create the kind of cultural artifacts and settings within which each new generation of children develops. He also proposes a novel hypothesis, based on processes of social cognition and cultural evolution, about what makes the cognitive representations of humans different from those of other primates. -/- Lucid, erudite, and passionate, The Cultural Origins of Human Cognition will be essential reading for developmental psychology, animal behavior, and cultural psychology. (from the HUP website). (shrink)

The Music Instinct Philip Ball provides the first comprehensive, accessible survey of what is known--and what is still unknown--about how music works its magic, and why, as much as eating and sleeping, it seems indispensable to humanity. --from publisher description.

Why does music have such a powerful effect on our minds and bodies? It is the most mysterious and most tangible of all forms of art. Yet, Anthony Storr believes, music today is a deeply significant experience for a greater number of people than ever before. In this book, he explores why this should be so. Drawing on a wide variety of opinions, Storr argues that the patterns of music make sense of our inner experience, giving both structure and coherence (...) to our feelings and emotions. It is because music possesses this capacity to restore our sense of personal wholeness in a culture which requires us to separate rational thought from feelings that many people find it so life-enhancing that it justifies existence. (shrink)

Looks at the depiction and meaning of shadows in the history of Western art.

The Aesthetic Brain takes the reader on a wide-ranging journey addressing fundamental questions about aesthetics and art. Using neuroscience and evolutionary psychology, Chatterjee shows how beauty, pleasure, and art are grounded biologically, and offers explanations for why beauty, pleasure, and art exist at all.

Already hailed as a masterpiece, Foundations of Language offers a brilliant overhaul of the last thirty-five years of research in generative linguistics and related fields. "Few books really deserve the cliché 'this should be read by every researcher in the field'," writes Steven Pinker, author of The Language Instinct, "but Ray Jackendoff's Foundations of Language does." Foundations of Language offers a radically new understanding of how language, the brain, and perception intermesh. The book renews the promise of early generative linguistics: (...) that language can be a valuable entrée into understanding the human mind and brain. The approach is remarkably interdisciplinary. Behind its innovations is Jackendoff's fundamental proposal that the creativity of language derives from multiple parallel generative systems linked by interface components. This shift in basic architecture makes possible a radical reconception of mental grammar and how it is learned. As a consequence, Jackendoff is able to reintegrate linguistics with philosophy of mind, cognitive and developmental psychology, evolutionary biology, neuroscience, and computational linguistics. Among the major topics treated are language processing, the relation of language to perception, the innateness of language, and the evolution of the language capacity, as well as more standard issues in linguistic theory such as the roles of syntax and the lexicon. In addition, Jackendoff offers a sophisticated theory of semantics that incorporates insights from philosophy of language, logic and formal semantics, lexical semantics of various stripes, cognitive grammar, psycholinguistic and neurolinguistic approaches, and the author's own conceptual semantics. (shrink)