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 ...

This paper concerns how motor actions are neurally represented and coded. Action planning and motor preparation can be studied using a specific type of representational activity, motor imagery. A close functional equivalence between motor imagery and motor preparation is suggested by the positive effects of imagining movements on motor learning, the similarity between the neural structures involved, and the similar physiological correlates observed in both imaging and preparing. The content of motor representations can be inferred from motor images at a (...) macroscopic level, based on global aspects of the action and the motor rules and constraints which predict the spatial path and kinematics of movements. A more microscopic neural account calls for a representation of object-oriented action. Object attributes are processed in different neural pathways depending on the kind of task the subject is performing. During object-oriented action, a pragmatic representation is activated in which object affordances are transformed into specific motor schemas. Animal as well as human clinical data implicate the posterior parietal and premotor cortical areas in schema instantiation. A mechanism is proposed that is able to encode the desired goal of the action and is applicable to different levels of representational organization. (shrink)

Kant after Duchamp brings together eight essays around a central thesis with many implications for the history of avant-gardes. Although Duchamp's ready mades broke with all previously known styles, de Duve observes that he made the logic of modernist art practice the subject matter of his work, a shift in aesthetic judgment that replaced the classical "this is beautiful" with "this is art." De Duve employs this shift (replacing the word "beauty" by the word "art") in a rereading of Kant's (...) Critique of Judgment that reveals the hidden links between the radical experiments of Duchamp and the Dadaists and mainstream pictorial modernism. (shrink)

These volumes provide a resource that makes this research accessible across disciplines and clarifies its importance for the social sciences and philosophy as ...

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)

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.

Marc Jeannerod is director of the Institut des Sciences Cognitives in Lyon. His work in neuropsychology focuses on motor action. The idea that there is an essential relationship between bodily movement, consciousness, and cognition is not a new one, but recent advances in the technologies of brain imaging have provided new and detailed support for understanding this relationship. Experimental studies conducted by Jeannerod and his colleagues at Lyon have explored the details of brain activity, not only as we are actively (...) moving, but as we plan to move, as we imagine moving, and as we observe others move. His work also captures important distinctions between pathological and non-pathological experience. In The Cognitive Neuroscience of Action , Jeannerod focussed on object-oriented actions. What happens in the brain and what do we experience when we reach to grasp an object? How do we plan an action of that sort? To what extent does explicit motor imagery contribute to such action? What role does a motor representation or motor schema play in the accomplishment of action? At the very end of that book he raises questions that seem quite different. How is it possible to understand the intentions of others? Precisely what mechanisms allow us to imitate other people's actions? In more recent years much of Jeannerod's work has been in pursuit of these questions about interaction with others, and he has helped to show that there are intimate connections between moving ourselves and understanding others. Jeannerod's work does not lack important implications for a philosophical understanding of human activity. Although in contemporary philosophical debates on consciousness one can still find arguments that simply ignore bodily movement as an important factor in cognition, several recent works have returned to serious consideration of movement and action . In the following interview Jeannerod discusses many issues relevant to the philosophy of mind and action, including concepts of intentionality, movement and consciousness of movement, the role of simulation in understanding others, and the best way to conceptualize brain processes in all of these regards. Importantly, he makes constant reference to the empirical evidence, much of it developed in his own experimental studies. (shrink)