A fundamental question facing the cognitive sciences is why it is so difficult for us to look at the world in new ways. Experts, in particular, appear to have extreme difficulty in questioning the foundations for their belief. This I argue is because we can only view our world through mental paradigms. Such paradigms, our mindsets, have evolved so that we can respond automatically to things of importance but, by having mindsets, we are intrinsically prejudiced. I suggest that infantile autism (...) provides valuable insight into what a mind would be like if it were not to have paradigms. Because we are constrained to look at the world through our mindsets, the only way to see more is to acquire more mindsets. But, to actually be original, it is also necessary to subvert conventional wisdom and this would appear to be culturally dependent. Accordingly, understanding creativity necessitates examining the collective perspectives of diverse disciplines, encompassing abnormal minds as well as the historical transformations of different cultures. (shrink)

The processes whereby our brains continue to learn about a changing world in a stable fashion throughout life are proposed to lead to conscious experiences. These processes include the learning of top-down expectations, the matching of these expectations against bottom-up data, the focusing of attention upon the expected clusters of information, and the development of resonant states between bottom-up and top-down processes as they reach an attentive consensus between what is expected and what is there in the outside world. It (...) is suggested that all conscious states in the brain are resonant states and that these resonant states trigger learning of sensory and cognitive representations. The models which summarize these concepts are therefore called Adaptive Resonance Theory, or ART, models. Psychophysical and neurobiological data in support of ART are presented from early vision, visual object recognition, auditory streaming, variable-rate speech perception, somatosensory perception, and cognitive-emotional interactions, among others. It is noted that ART mechanisms seem to be operative at all levels of the visual system, and it is proposed how these mechanisms are realized by known laminar circuits of visual cortex. It is predicted that the same circuit realization of ART mechanisms will be found in the laminar circuits of all sensory and cognitive neocortex. Concepts and data are summarized concerning how some visual percepts may be visibly, or modally, perceived, whereas amodal percepts may be consciously recognized even though they are perceptually invisible. It is also suggested that sensory and cognitive processing in the What processing stream of the brain obey top-down matching and learning laws that are often complementary to those used for spatial and motor processing in the brain's Where processing stream. This enables our sensory and cognitive representations to maintain their stability as we learn more about the world, while allowing spatial and motor representations to forget learned maps and gains that are no longer appropriate as our bodies develop and grow from infanthood to adulthood. Procedural memories are proposed to be unconscious because the inhibitory matching process that supports these spatial and motor processes cannot lead to resonance. (shrink)

Having laid the groundwork in his critically acclaimed books Neural Darwinism (Basic Books, 1987) and Topobiology (Basic Books, 1988), Nobel laureate Gerald M. Edelman now proposes a comprehensive theory of consciousness in The Remembered ...

In recent decades the relationship between psychoanalysis and psychotherapy has been a focal point for debate about the distinctiveness of analysis as a particular kind of therapeutic enterprise. In _Interpretation and Interaction_, Jerome Oremland invokes the interventions of "interpretation" and "interaction," rooted in the values of understanding and amelioration, respectively, as a conceptual basis for reappraising these important issues. In place of the commonly accepted triadic division among psychoanalysis, exploratory psychotherapy, and supportive psychotherapy, he proposes a new triad: psychoanalysis, psychoanalytically-oriented (...) psychotherapy, and interactive psychotherapy. Anchoring his classification in what he terms the "orientation of the therapy" rather than the "orientation of the therapist," Oremland submits that analysis and psychoanalytically-oriented psychotherapy strive systematically to _interpret_ the therapeutic interaction as expressed in the transference. Interactive psychotherapy, on the other hand, uses the transference selectively to ameliorate psychic stress. _Interpretation and Interaction_ is enriched by a concluding chapter from Merton Gill, a preeminent authority on the therapeutic process. Gill's critical appreciation of Oremland's proposals amounts to an illuminating refinement of his own position on the relationship between psychoanalysis and psychotherapy. Scholarly in conception, thoughtful in tone, and pragmatic in yield, _Interpretation and Interaction_ is a clarifying addition to the psychoanalytic theory of psychotherapy. It will have the practical consequence, in Gill's words, of "aiding clinicians in retaining their analytic identities and their analytic orientation across the spectrum of their therapeutic work.". (shrink)

Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The (...) verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals. (shrink)