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)

First published in 1995, The Visual Brain in Action remains a seminal publication in the cognitive sciences. It presents a model for understanding the visual processing underlying perception and action, proposing a broad distinction within the brain between two kinds of vision: conscious perception and unconscious 'online' vision. It argues that each kind of vision can occur quasi-independently of the other, and is separately handled by a quite different processing system. In the 11 years since publication, the book has provoked (...) considerable interest and debate - throughout both cognitive neuroscience and philosophy, while the field has continued to flourish and develop. -/- For this new edition, the text from the original edition has been left untouched, standing as a coherent statement of the authors' position. However, a very substantial epilogue has been added to the book in which Milner and Goodale review some of the key developments that support or challenge the views that were put forward in the first edition. The new chapter summarizes developments in various relevant areas of psychology, neuroscience and behaviour. It notably supplements the main text by updating the reader on the contributions that have emerged from the use of functional neuroimaging, which was in its infancy when the first edition was written. Neuroimaging, and functional MRI in particular, has revolutionized the field over the past 11 years by allowing investigators to plot in detail the patterns of activity within the visual brains of behaving and perceiving humans. The authors show how its use now allows scientists to test and confirm their proposals, based as they then were largely on evidence accrued from primate neuroscience in conjunction with studies of neurological patients. (shrink)

Anydomainofscientificresearchhasitssustainingorthodoxy. Thatis, research on a problem, whether in astronomy, physics, or biology, is con- ducted against a backdrop of broadly shared assumptions. It is these as- sumptionsthatguideinquiryandprovidethecanonofwhatisreasonable-- of what "makes sense." And it is these shared assumptions that constitute a framework for the interpretation of research results. Research on the problem of how we see is likewise sustained by broadly shared assump- tions, where the current orthodoxy embraces the very general idea that the business of the visual system is to (...) create a detailed replica of the visual world, and that it accomplishes its business via hierarchical organization and by operatingessentiallyindependently of other sensorymodalitiesas well as independently of previous learning, goals, motor planning, and motor execution. (shrink)

Beginning with Thomas Nagel, various philosophers have propsed setting conscious experience apart from all other problems of the mind as ‘the most difficult problem’. When critically examined, the basis for this proposal reveals itself to be unconvincing and counter-productive. Use of our current ignorance as a premise to determine what we can never discover is one common logical flaw. Use of ‘I-cannot-imagine’ arguments is a related flaw. When not much is known about a domain of phenomena, our inability to imagine (...) a mechanism is a rather uninteresting psychological fact about us, not an interesting metaphysical fact about the world. Rather than worrying too much about the meta-problem of whether or not consciousness is uniquely hard, I propose we get on with the task of seeing how far we get when we address neurobiologically the problems of mental phenomena. (shrink)

[opening paragraph] -- Clark: The `astonishing hypothesis' which you put forward in your book, and which you obviously feel is very controversial, is that `You, your joys and sorrows, your memories and ambitions, your sense of personal identity and free will are, in fact, no more than the behaviour of a vast assembly of nerve cells. As Lewis Carroll's Alice might have phrased it: `You're nothing but a pack of neurons'.' But it seems to me that this is not so (...) astonishing a statement for a scientist to make. Isn't this what reductionist science has always believed? (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)

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)