An alarming number of philosophers and cognitive scientists have argued that mind extends beyond the brain and body. This book evaluates these arguments and suggests that, typically, it does not. A timely and relevant study that exposes the need to develop a more sophisticated theory of cognition, while pointing to a bold new direction in exploring the nature of cognition Articulates and defends the “mark of the cognitive”, a common sense theory used to distinguish between cognitive and non-cognitive processes Challenges (...) the current popularity of extended cognition theory through critical analysis and by pointing out fallacies and shortcoming in the literature Stimulates discussions that will advance debate about the nature of cognition in the cognitive sciences. (shrink)

Defense of a psychological account of what it is for an artwork to be complete.

It is quite common to draw a distinction between complete and unfinished works of art. For example, it is uncontroversial to think that Vermeer had actually completed View of Delft before inept restorers added layers of coloured varnish to give the picture an antique quality, and there is very good evidence to support the related claim that the artist had not finished the work before he effected several pentimenti, including the painting over of a figure in the foreground on the (...) right. Such beliefs oriented a costly and elaborate restoration that was begun in 1994 and terminated two years later. (shrink)

We present an analysis of work completion couched in terms of an effective completion decision identified by its characteristic contents and functions. In our proposal, the artist's completion decision can take a number of distinct forms, including a procedural variety referred to as an ‘extended completion decision’. In the second part of this essay, we address ourselves to the question of whether collaborative art-making projects stand as counterexamples to the proposed analysis of work completion.

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

In this article, I use the example of the novel Micro, authored by Michael Crichton and Richard Preston, to tease out the relationships between an author and his work and with other authors of that work. The case presents a complication for a number of contemporary views on authorship and co-authorship, which suggest that Crichton is either not an author of the novel or an author but not a co-author—both, I suggest, are counterintuitive views. After working through the leading views (...) on the topic, I present my own view of authorship, co-authorship, and multiple authorship, centrally resting on issues of power, responsibility, and creation. (shrink)

A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.

Philosophical interest in situated cognition has been focused most intensely on the claim that human cognitive processes extend from the brain into the tools humans use. As we see it, this radical hypothesis is sustained by two kinds of mistakes, confusing coupling relations with constitutive relations and an inattention to the mark of the cognitive. Here we wish to draw attention to these mistakes and show just how pervasive they are. That is, for all that the radical philosophers have said, (...) the mind is still in the head. (shrink)

In this paper, we approach the idea of group cognition from the perspective of the “extended mind” thesis, as a special case of the more general claim that systems larger than the individual human, but containing that human, are capable of cognition (Clark, 2008; Clark & Chalmers, 1998). Instead of deliberating about “the mark of the cognitive” (Adams & Aizawa, 2008), our discussion of group cognition is tied to particular cognitive capacities. We review recent studies of group problem-solving and group (...) memory which reveal that specific cognitive capacities that are commonly ascribed to individuals are also aptly ascribed at the level of groups. These case studies show how dense interactions among people within a group lead to both similarity-inducing and differentiating dynamics that affect the group's ability to solve problems. This supports our claim that groups have organization-dependent cognitive capacities that go beyond the simple aggregation of the cognitive capacities of individuals. Group cognition is thus an emergent phenomenon in the sense of Wimsatt (1986). We further argue that anybody who rejects our strategy for showing that cognitive properties can be instantiated at multiple levels in the organizational hierarchy on a priori grounds is a “demergentist,” and thus incurs the burden of proof for explaining why cognitive properties are “stuck” at a certain level of organizational structure. Finally, we show that our analysis of group cognition escapes the “coupling-constitution” charge that has been leveled against the extended mind thesis (Adams & Aizawa, 2008). (shrink)

How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model for (...) creating collaborative, digital art. (shrink)