Embodied human minds operate in and spread across a vast and uneven world of things—artifacts, technologies, and institutions which they have collectively constructed and maintained through cultural and individual history. This chapter seeks to add a historical dimension to the enthusiastically future-oriented study of “natural-born cyborgs” in the philosophy of cognitive science,3 and a cognitive dimension to recent work on material memories and symbol systems in early modern England, bringing humoral psychophysiology together with material culture studies. The aim is to (...) sketch an integrative framework which spans early modern ideas and practices relating to brains, bodies, memory, and objects. Embodiment and environment, I’ll argue, were not (always) merely external influences on feeling, thinking, and remembering, but (in certain circumstances) partly constitutive of these activities. (shrink)

An interview with Anthony Freeman, in which one of the original authors of ‘The Science of Art’ [JCS, 6, No. 6/7, 1999] responds to to ongoing commentary.

The article defines the function of the visual brain as a search for constancies with the aim of obtaining knowledge about the world, and claims that it is applicable with equal vigour to the function of art. We define the general function of art as a search for the constant, lasting, essential, and enduring features of objects, surfaces, faces, situations, and so on, which allows us not only to acquire knowledge about the particular object, or face, or condition represented on (...) the canvas but to generalize, based on that, about many other objects and thus acquire knowledge about a wide category of objects or faces. In this process, the artist must also be selective and invest his work with attributes that are essential, discarding much that is superfluous. It follows that one of the functions of art is an extension of the major function of the visual brain. Indeed, philosophers and artists often spoke about art in terms that are extremely similar to the language that a modern neurobiologist of vision would use, except that he would substitute the word ‘brain’ for the word ‘artist.’. (shrink)

To the historian of art, it is evident that the two authors’ notion of ‘art’ is of very recent date, and not shared by everybody. They claim: ‘The purpose of art, surely, is not merely to depict or represent reality -- for that can be accomplished very easily with a camera -- but to enhance, transcend, or even to distort reality’ . They do not explain how one could photograph Paradise or Hell, the Creation of the World, the Passion of (...) Christ, or the escapades of the ancient gods -- all subjects that can be found represented in our museums. Nor is it more legitimate to generalize from certain Indian conventions of representing the female nude than it is for the academic tradition to take the Venus de Medici for the same purpose. Even a fleeting visit to one of the great museums might serve to convince the authors that few of the exhibits conform to the laws of art they postulate. [followed by response from V.S. Ramachandran]. (shrink)

Since Plato, most philosophers have drawn a sharp line between reason and emotion, assuming that emotions interfere with rationality and have nothing to contribute to good reasoning. In his dialogue the Phaedrus, Plato compared the rational part of the soul to a charioteer who must control his steeds, which correspond to the emotional parts of the soul (Plato 1961, p. 499). Today, scientists are often taken as the paragons of rationality, and scientific thought is generally assumed to be independent of (...) emotional thinking. (shrink)

This paper is a tentative step towards a historical cognitive science, in the domain of memory and personal identity. I treat theoretical models of memory in history as specimens of the way cultural norms and artifacts can permeate ('proto')scientific views of inner processes. I apply this analysis to the topic of psychological control over one's own body, brain, and mind. Some metaphors and models for memory and mental representation signal the projection inside of external aids. Overtly at least, medieval and (...) Renaissance theorists agreed that such models had to allow for, or even guarantee, some conception of cognitive order and discipline. Individual memory traces had to be independent, not mixed up or interfering with others. The long tradition of improving or bypassing 'natural memory' by deliberately internalizing artefactual models was part of an arduous process of self-fashioning. Moral panic about confusion and mixture features centrally in the imposition of cognitive discipline in local memory traditions. (shrink)

Many scholars view artworks as the products of cultural history and arbitrary institutional conventions. Others construe art as the result of psychological mechanisms internal to the organism. These historical and psychological approaches are often viewed as foes rather than friends. Is it possible to combine these two approaches in a unified analysis of the perception and consciousness of artworks? I defend a positive answer to this question and propose a psycho-historical theory, which argues that artworks are historical and material artefacts (...) designed to prompt mental activities and elicit the conscious experience of aesthetic worlds. My argument suggests that the material components of artworks--termed their `material substrata'--are crucial mediators between historical contexts and the mental activities elicited by the perception of artworks. (shrink)

Proposes a theory of hedonic tone in disinterested states. It is hypothesized that the laws governing the amount of pleasure induced by fairly neutral stimuli are analogous to but not identical with laws governing recognition, memory, and a number of other cognitive phenomena. The amount of pleasure induced by such stimuli is held to be a hyperbolic function of the degree to which the cognitive units coding the stimulus are activated. Difficulties with competing hedonic theories, which led to formulation of (...) the present theory, are noted. A number of predictions derived from the cognitive theory, dealing with simultaneous/instantaneous, serial, or repetitive effects, are discussed. In cases in which empirical data are available, it is shown that these data conform to theoretical predictions. Several counterintuitive predictions—along with supportive data—are presented. A number of untested predictions are also presented. (shrink)