"Developed from the author's Philosophy is a new key." Bibliography: p. 417-428.

A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...) Searching for inner meaning in literature -- The depiction of modern women's sexuality in art -- The depiction of the psyche in art -- The fusion of eroticism, aggression, and anxiety in art -- A cognitive psychology of visual perception and emotional response to art -- Discovering the beholder's share -- Observation is also invention : the brain as a creativity machine -- The emergence of twentieth-century painting -- A biological science of the beholder's visual response to art -- The brain's processing of visual images -- Deconstruction of the visual image: the building blocks of form perception -- Reconstruction of the world we see : vision is information processing -- High-level vision and the brain's perception of face, hands, and body -- Top-down processing of information : using memory to find meaning -- The deconstruction of emotion : the search for emotional primitives -- The artistic depiction of emotion through the face, hands, body, and color -- Unconscious emotions, conscious feelings, and their bodily expression -- A biological science of the beholder's emotional response to art -- Top-down control of cognitive emotional information -- The biological response to beauty and ugliness in art -- The beholder's share : entering the private theater of another's mind -- The biology of the beholder's share : modeling other people's minds -- How the brain regulates emotion and empathy -- An evolving dialogue between visual art and science -- Artistic universals and the austrian expressionists -- The creative brain -- The cognitive unconscious and the creative brain -- Brain circuits for creativity -- Talent, creativity, and brain development -- Knowing ourselves : the new dialogue between art and science. (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)

A provocative assessment of human thought and behavior, reissued with a new afterword, explores a range of conundrums from the ability of the mind to perceive three dimensions to the nature of consciousness, in an account that draws on ...

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

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

It is widely believed that what distinguishes the social cognition of humans from that of other animals is the belief–desire psychology of four–year–old children and adults (so–called theory of mind). We argue here that this is actually the second ontogenetic step in uniquely human social cognition. The first step is one year old children's understanding of persons as intentional agents, which enables skills of cultural learning and shared intentionality. This initial step is ‘the real thing’ in the sense that it (...) enables young children to participate in cultural activities using shared, perspectival symbols with a conventional/normative/reflective dimension—for example, linguistic communication and pretend play—thus inaugurating children's understanding of things mental. Understanding beliefs and participating in collective intentionality at four years of age—enabling the comprehension of such things as money and marriage—results from several years of engagement with other persons in perspective–shifting and reflective discourse containing propositional attitude constructions. (shrink)

A list of groceries, Professor Anscombe once suggested, might be used as a shopping list, telling what to buy, or it might be used as an inventory list, telling what has been bought (Anscombe 1957). If used as a shopping list, the world is supposed to conform to the representation: if the list does not match what is in the grocery bag, it is what is in the bag that is at fault. But if used as an inventory list, the (...) representation is supposed to conform to the world: if the list does not match what is in the bag, it is the list that is at fault. The first kind of representation, where the world is supposed to conform to the list, can be called "directive"; it represents or directs what is to be done. The second, where the list is supposed to conform to the world, can be called "descriptive"; it represents or describes what is the case. I wish to propose that there exist representations that face both these ways at once. With apologies to Dr. Doolittle, I call them pushmi-pullyu representations or PPRs. (shrink)

"If our procedure is to work steadily in the direction of drawing as fine art, rather than beginning from examples of such art, where shall we begin? One attractive possibility is to begin at the beginning—not the beginning in prehistory, which is already wonderful art, but with our personal beginnings as children. From there it will be the ambitious project of this book to investigate 'the course of drawing,' from the first marks children make to the greatest graphic arts of (...) different cultures."—from the Introduction Patrick Maynard surveys the rich and varied practices of drawing, from the earliest markings on cave walls to the complex technical schematics that make the modern world possible, from cartoons and the first efforts of preschoolers to the works of skilled draftspeople and the greatest artists, East and West. Despite, or perhaps because of, its ubiquity, drawing as such has provoked remarkably little philosophical reflection. Nonphilosophical writing on the topic tends to be divided between specialties such as art history and mechanics. In this engagingly written and well-illustrated book, Maynard reveals the interconnections and developments that unite this fundamental autonomous human activity in all its diversity. Informed by close discussion of work in art history, art criticism, cognitive and developmental psychology, and aesthetics, Drawing Distinctions presents a theoretically sophisticated yet approachable argument that will improve comprehension and appreciation of drawing in its many forms, uses, and meanings. (shrink)

"Prompted by modern critical discussions, the fourteen papers, lectures and articles assembled in this volume revolve around issues raised by twentieth-century art and theory."--Amazon.

First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa (...) Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html . (shrink)