Combining ideas from philosophy, artificial intelligence, and neurobiology, Daniel Dennett leads the reader on a fascinating journey of inquiry, exploring such intriguing possibilities as: Can any of us really know what is going on in someone else's mind? What distinguishes the human mind from the minds of animals, especially those capable of complex behavior? If such animals, for instance, were magically given the power of language, would their communities evolve an intelligence as subtly discriminating as ours? Will robots, once they (...) have been endowed with sensory systems like those that provide us with experience, ever exhibit the particular traits long thought to distinguish the human mind, including the ability to think about thinking? Dennett addresses these questions from an evolutionary perspective. Beginning with the macromolecules of DNA and RNA, the author shows how, step-by-step, animal life moved from the simple ability to respond to frequently recurring environmental conditions to much more powerful ways of beating the odds, ways of using patterns of past experience to predict the future in never-before-encountered situations. Whether talking about robots whose video-camera ”eyes” give us the powerful illusion that ”there is somebody in there” or asking us to consider whether spiders are just tiny robots mindlessly spinning their webs of elegant design, Dennett is a master at finding and posing questions sure to stimulate and even disturb. (shrink)

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)

We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify (...) the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer. (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)

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 ...

There is certainly a need for a framework to guide the study of the physiological mechanisms underlying the experience of music and the emotions that music evokes. However, this framework should be organised hierarchically, with musical anticipation as its fundamental mechanism.

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

The author introduces and explains the flow psychological theory. He demonstrates how it is possible to improve the quality of life by controlling the information that enters the consciousness.

Explanatory accounts of emotion require, among other things, theoretically tractable representations of emotional experience. Common methods for producing such representations have well-known drawbacks, such as observer interference or lack of ecological validity. Literature offers a valuable supplement. It provides detailed instructions for simulating emotions; when successful, it induces empathic emotions. It too involves distortions, through emotion-intensifying idealization and ideological biases. But these also relate to emotion study. There are three levels at which literature bears on emotion research: (1) the individual (...) work; (2) generic and related patterns; and (3) properties found widely across individual works and genres. Even at the third, most general level, literature suggests potentially important hypotheses about our pleasure in emotional simulation and our need to share emotional experiences. (shrink)

arratives, fictional and factual, commonly raise in their audience suspense. A narrative lays out over time a sequence of events; and because the events of the narrative are not completely told all at once, questions arise for the audience which will be answered only later in the narrative’s telling. Will the transfigured panther-woman pounce on her rival as she walks home alone at night, hearing strange noises around her? Will Sam and Annie ever make their date at the top of (...) the Empire State Building? And the most classic question of all, Who dunnit?, or as it appears in its post-modern form, Who will do it? ‘This is the story of a murder. It hasn’t happened yet. But it will,’ Martin Amis writes at the beginning of London Fields. ‘I know the murderer, I know the murderee,’ and we’re soon told that the murderee is to be Nicola Six.1 But who will kill her? And why? (shrink)

Based on the belief that computational modeling (thinking in terms of representation and computations) can help to clarify controversial issues in emotion theory, this article examines emotional experience from the perspective of the Computational Belief–Desire Theory of Emotion (CBDTE), a computational explication of the belief–desire theory of emotion. It is argued that CBDTE provides plausible answers to central explanatory challenges posed by emotional experience, including: the phenomenal quality,intensity and object-directedness of emotional experience, the function of emotional experience and its relation (...) to cognition and motivation, and the relation between emotional experience and emotion. In addition, CBDTE avoids most objections that have been raised against cognitive theories of emotion. A remaining objection, that beliefs are not necessary for the emotions covered by CBDTE, is rejected as empirically unsupported. (shrink)

Vorschule der Aesthetik ist ein unveranderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1876. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernahrung, Medizin und weiteren Genres.Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur.Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitaten erhaltlich. Hansebooks verlegt diese Bucher neu und tragt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch fur die Zukunft bei.".

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

Implicit learning is a core process for the acquisition of a complex, rule‐based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants acquire complex melodic, harmonic, and other features from mere exposure. While current findings and computational modeling largely support the learning of chunks, some results indicate learning of more complex structures. Despite the (...) body of evidence, more research is required to support the cross‐cultural validity of implicit learning and to show that core and more complex music theoretical features are acquired implicitly. (shrink)