电影感知研究，是欧美近20年来兴起的跨学科实证研究。电影感知研究主要以心 理学的感知科学为基础，并且结合电影学、传播学、计算机科学、统计学等学科， 以实证的方法探讨电影的构建与观众解读机制之间的联系。文章通过对电影感知研 究历史的梳理和总结，探讨了传统电影研究中忽略的问题，讨论了电影感知研究的 学科性质和应用前景。 .

A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: (...) there is no single answer to the question of what kind of subjectivity, if any, is mandated across film sequences. Then, we defend unindexed subjectivity: at least sometimes, films mandate an experience that is first-personal but not tied to any particular person, not even to the viewer. Taken together, these two theses allow us to see film experience as more varied than previously appreciated and to bridge in a novel way the cognition of film with the exercise of other imaginative capacities, such as mindreading and episodic recollecting. (shrink)

Guided by key insights of the four great philosophers mentioned in the title, here, in review of and expanding on our earlier work (Burchard, 2005, 2011), we present an exposition of the role played by language, & in the broader sense, λογοζ, the Logos, in how the CNS, the brain, is running the human being. Evolution by neural Darwinism has been forcing the linguistic nature of mind, enabling it to overcome & exploit the cognitive gap between an animal and its (...) world by recognizing environmental structures. Our work was greatly influenced by Heidegger’s lecture notes on metaphysics (Heidegger, 1935). We found agreement with recent progress in neuroscience, but also mathematical foundations of language theory, equating Logos with the mathematical concept of structure. The mystery of perception across the gap is analyzed as radiation and molecules impinging on sensory neurons that carry linguistic information about gross environmental structures, and only remotely about the physical reality of elementary particles. The most important logical brain function is Ego or Self, guiding the workings of the brain as a logos machine. Ego or Self operates from neurons in frontopolar cortex with global receptive fields. The logos machine can function only by availing itself of global context, its internally stored noumenal cosmos NK, and the categorical-conceptual apparatus CCA, updated continually through the neural default mode network (Raichle, 2005). In the Transcendental Deduction, Immanuel Kant discovered that Ego or Self is responsible for conscious control in perception relying on concepts & categories for a fitting percept to be incorporated intoNK. The entire CNS runs as a “movie-in-the-brain” (Parvizi & Damasio, 2001), at peak speed processing simultaneously in a series of cortical centers a stack of up to twelve frames in gamma rhythm of 25 ms intervals. We equate global context, or NK, with our human world, Heidegger’s Dasein being-in-the-world, and are able to demonstrate that the great philosopher in EM parallels neuro-science concerning the human mind. (shrink)

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature (...) and essence of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...) and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) (...) To what extent are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict. (shrink)

Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on (...) dubious individualist assumptions about creative minds. Such a misapprehension is effacing the public value that a more inclusive and accurate understanding of filmmaking offers. By “public value” we mean the potential to enhance social and cultural well-being, particularly in working lives and collaborative undertakings in the screen industries. Better understanding of the systemic and social nature of creativity in filmmaking can potentially help in democratising aesthetics, which we consider a clear public good. (shrink)

This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have (...) toward analogous circumstances in real life. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of (...) guidingchildren’s and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

The Oxford handbook of cognitive literary studies' applies developments in cognitive science to a wide range of literary texts that span multiple historical periods and numerous national literary traditions. The volume is divided into five parts: Narrative, History, Imagination; Emotions and Empathy; The New Unconscious; Empirical and Qualitative Studies of Literature; and Cognitive Theory and Literary Experience. Most notably, the volume features case studies representing not just North American and British literary traditions, but also Argentinian, Chinese, Colombian, Dominican, German, French, (...) Indian, Mexican, Polish, Puerto Rican, Russian, South African, and Spanish. Moreover, the volume will cover a variety of periods (e.g.,0. (shrink)

Limitless is a movie (released in 2011) as well as a novel (published in 2001) about a tormented author who (plagued by a writer’s block) becomes an early user of an experimental designer drug. The wonder drug makes him highly productive overnight and even allows him to make a fortune on the stock market. At the height of his career, however, the detrimental side-effects become increasingly noticeable. In this article, Limitless is analysed from two perspectives. First of all, building on (...) the views of the French novelist Emile Zola, the novel is seen as the report of a closely monitored experiment. Subsequently, building on the phenomenology of Ludwig Binswanger, I will show how the cognitive enhancement drug not only boosts the protagonist’s information processing capacities, but also modifies his experience of space and time, his sense of spatiality, his way of being-in-the-world. On the basis of these (complementary) analyses I will indicate how genres of the imagination (such as movies and novels) may play a significant role in assessing the societal implications of emerging technological developments such as neuro-enhancement, especially during the preparatory or anticipatory stage. (shrink)

This essay aims to appreciate the evolution of the problems regarding the ontological understanding of the photographic image and its derivative, the film, in the face of the sophistication of the apparatus of its production. The creative freedom in making images through optical machines is inversely proportional to their credibility as documents. Since its appearance in the human landscape, as a cultural object, the technology of recording images with lights has brought with it a complex of aporias about what (...) would the nature of the image produced by cameras be: a document or an artistic object, intentionally produced and with created meaning? Consequently: are they denotative or, necessarily, connotative? The development of automatic image capture in the 1980s represented the first update of the question. To what extent, and for how long, will it be possible to trust photography and film as documents through which man aims to access reality? The question now seems to be settled, definitively, in the face of the invention of artificial photography made by algorithms. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project (...) that remains fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is a genuine scepticism about (...) the very notion of the cognitive. Using historical reconstruction, I reveal how ‘cognitive’ has become a multiply ambiguous, theory-laden term in the wake of, indeed as a consequence of, Noam Chomsky’s original stipulative definition. This generates a constitutive problem for cognitivism as both a research programme and a set of claims, and as such poses a trilemma for philosophers of film, art and beyond. I propose a Cinematic Humanist solution to the problematic commitments of cognitive film theorising and, in so doing, gesture towards a methodology I am calling ‘philosophy of film without theory’. (shrink)

This essay exemplifies a cognitive approach to literary and film studies, with particular emphasis on fictional reimagining of legal institutions. It draws on research of cognitive scientists who study metacognition—specifically, the difference between reflective and intuitive beliefs—to suggest that courtroom dramas, such as Billy Wilder’s Witness for the Prosecution (1957), can manipulate their viewers into believing something that they, on some level, know cannot be true. In this case, viewers accept the not guilty verdict by the jury even though (...) “the facts in the case” are “simple” and point to the guilt of the defendant. I show how different versions of Witness for the Prosecution—from Agatha Christie’s original short story (1925) and her subsequent play based on that story (1953), to the Hollywood film (1957), and the BBC mini-series (2016)—trigger our reflective beliefs about the defendant’s innocence, so that we find the verdict satisfying (at least for a short while). I conclude by considering literary payoffs of this manipulation, especially in the context of a culture that subscribes to a view of the mind as, in principle, knowable, and thus readable by skillful others. (shrink)

Connecting research and production, art research represents a breaking of the barrier between creation and academia. However, there is also a contradiction contained in this kind of research deriving from its methods, since the process of art-based practice must, by its very nature, involve the subjectivity of the artist. I use my own studies as the research object to discuss this issue, and this article presents the problems I encountered during my artistic practice and research of ambiguous roles. This paper (...) has two main points of focus. First, I explore how the fallacy of self-referentiality is presented in paintings and films, and, second, I draw on my short film practice during my master’s study period to explain how the shots present a continuum in relation to the “absent one” and produce interface effects. However, the second point is not necessarily the result of the first one. This kind of connection and contradiction between practice and cognition in the process of art research is that I will analyse and discuss here. (shrink)

A typical device in film is to have a character narrating what is going on, but this narration is not always a reliable guide to the events. According to Maier, distortions may be caused by the narrator’s intent, naivety, use of drugs, and/or cognitive disorder/illness. What is common to these various causes, he argues, is the presence of a point of view, which appears in a movie as shots. While this perspective-based account of unreliability covers most cases, I unpack (...) its methodological consequences and gesture at a possibility that Maier’s analysis overlooks. A narration, I suggest, can be unreliable simply because it is ill-timed with the events shown on screen. In such a case, the distortion is not due to any character’s point of view; rather, it comes from the film medium’s ability to divorce what is seen and what is heard. As a consequence of this mismatch, it is possible to have a reliable narrator but an unreliable narration. Since voice and context of utterance usually match in ordinary speech, I conclude that philosophy of language may be ill-suited to properly understand this particular phenomenon. (shrink)

In recent years, a central debate in the philosophy of mind and cognitive science concerns the role of the body in perception and cognition. For many contemporary philosophers, not only cognition but also perception is connected mainly with the brain, where the processing of input from the senses takes place; whereas for the proponents of ‘embodied cognition’ other aspects of the body beyond the brain, including the environment, play a constitutive role in cognitive processes. In terms of (...) perception, a new theory has emerged which stresses perception’s active character and claims that the embodied subject and the environment, with which it interacts, form a dynamic system. Supporters of ‘enactive perception’ such as Susan Hurley and Alva Noë maintain that the physical substrate or the supervenience basis of perceptual experience and phenomenal consciousness may include besides the brain and the nervous system other bodily and environmental features. Yet, it will be argued in this paper that the interaction between the subject and the environment forms a system of causal relations, so we can theoretically interfere in the causal chains and create hallucinations, which cannot be distinguished from veridical perception, or a virtual reality as in the film Matrix (1999). This kind of argument and its related thought experiments aim to stress the primacy of the brain in determining phenomenal states, and show that the body and certain interactions with the environment have a causal, but not a constitutive or essential role, in forming phenomenal consciousness. (shrink)

Scientists have complained about the inconsistency and politics of academic publishing for hundreds of years. Among the explanations offered are that evaluators lack time and use shortcuts, that they lack the expertise to judge things properly, that they can't put aside personal biases and we must hide the names of authors, and that they are conscientious instead of creative and cannot judge new ideas. All of these are actually wrong. As a literary analyst, I spent the last ten years independently (...) studying this same problem in book and movie production. I've found that the human decision-making apparatus doesn't work the way we think, and the solutions based on this misunderstanding could never have solved the problem. In this paper, we present the first method that actually can, which is a technique adapted from computer hacking, as well as a new view of how our brains make choices. (shrink)

The high prevalence of brain injury incidents in adolescence and adulthood demands effective models for re-learning lost cognitive abilities. Impairment in brain injury survivors’ higher-level cognitive functions is common and a negative predictor for long-term outcome. We conducted two small-scale interventions (N = 12; 33.33% female) with persons with acquired brain injuries in two municipalities in Sweden. Age ranged from 17 to 65 years (M = 51.17, SD = 14.53). The interventions were dialogic, inquiry-based, and inspired by the Philosophy for (...) Children Programme, a participatory thinking skills approach with documented higher-order cognitive outcomes, such as developed argumentation skills, in other target groups. Philosophical dialogues were conducted once a week in the two groups, totalling 12 dialogues per group. Group argumentation development was measured through compared scores from structured observations of filmed dialogues early and late in the intervention. Large positive changes in mean scores from early to late in the intervention, together with constantly high facilitator quality, suggest argumentation development in the sample due to the intervention. (shrink)

One of the more powerful impressions created by vision is that of a coherent, richly-detailed world where everything is present simultaneously. Indeed, this impression is so compelling that we tend to ascribe these properties not only to the external world, but to our internal representations as well. But results from several recent experiments argue against this latter ascription. For example, changes in images of real-world scenes often go unnoticed when made during a saccade, flicker, blink, or movie cut. This "change (...) blindness" provides strong evidence against the idea that our brains contain a picture-like representation of the scene that is everywhere detailed and coherent. (shrink)

I argue that we sometimes visually perceive the intentions of others. Just as we can see something as blue or as moving to the left, so too can we see someone as intending to evade detection or as aiming to traverse a physical obstacle. I consider the typical subject presented with the Heider and Simmel movie, a widely studied ‘animacy’ stimulus, and I argue that this subject mentally attributes proximal intentions to some of the objects in the movie. I further (...) argue that these attributions are unrevisable in a certain sense and that this result can be used to as part of an argument that these attributions are not post-perceptual thoughts. Finally, I suggest that if these attributions are visual experiences, and more particularly visual illusions, their unrevisability can be satisfyingly explained, by appealing to the mechanisms which underlie visual illusions more generally. (shrink)

The article discusses the evolutionary development of horror and fear in animals and humans, including in regard to cognition and physiological aspects of the brain. An overview of the social aspects of emotions, including the role that emotions play in interpersonal relations and the role that empathy plays in humans' ethics, is provided. An overview of the psychological aspects of monsters, including humans' simultaneous repulsion and interest in horror films that depict monsters, is also provided.

This essay examines the recent Planet of the Apes films through the lens of recent research in primatology. The films lend imaginary support to primatologist Frans de Waal’s evolutionary moral sentimentalism; however, the movies also show that truly moral motions outstrip the cognitive capacities of the great apes. The abstract moral principles employed by the ape community in the movie require the ability to understand and apply a common underlying explanation to perceptually disparate situations; in contrast, recent research in comparative (...) psychology demonstrates that the great apes lack this capacity. Since the capacity for abstraction is required on even the most basic version of moral sentimentalism—Shaun Nichols’ sentimental rules account—the lack of the capacity for abstraction reveals a qualitative distinction between primate social behavior and human morality. (shrink)

A philosophical analysis of different kinds of memory used in the film Memento.

Modern Cultural Studies do not only look at meanings but focus on the processes of their construction. Propositions and interpretations seem to be valid only with regard to their cognitive frames. This draws some critical attention to the acts of framing. Accordingly, the ›frame‹ has become a central category in anthropological, sociological and literary theories. This article investigates the motif of the frame in selected literary texts and in selected films by depicting its figurative aesthetics from the 18 th century (...) to the present time. The underlying thesis is that the frame’s metaphorical meaning and figurative capacity transport a specific theoretical knowledge which reflects the historical changes in the concepts of representation from the enlightenment up to postmodernism. -/- Kulturwissenschaftliches Verstehen fragt nicht nur nach Bedeutungen, sondern ist we-sentlich an den Bedingungen ihres Zustandekommens interessiert. Aussagen und Interpretationen erscheinen nur im Blick auf den jeweils gewählten Bedeutungsrahmen gültig. Dies lenkt die kritische Aufmerksamkeit auf die Akte der Rahmensetzung. Entsprechend wurde der ›Rahmen‹ zu einer zentralen Kategorie in anthropologischen, sozial- und literaturwissenschaftlichen Theoriekonzepten. Der Beitrag verfolgt das Motiv des Rahmens in ausgewählten literarischen und filmischen Beispielen und entfaltet seine figurative Ästhetik vom 18. Jahrhundert bis zur Gegenwart. Ihm liegt die These zugrunde, dass Metaphorik und Figur des Rahmens ein repräsentationskritisches Reflexionspotenzial transportieren, das die hermeneutischen Paradigmenwechsel seit dem Rationalismus der Aufklärung bis zur Postmoderne sichtbar macht. (shrink)

Michel Gondry and Charlie Kaufman’s 2004 Eternal Sunshine of the Spotless Mind, which celebrated its fifteenth anniversary in 2019, is an extended thought experiment on the nature of memory, minds, and persons. The memory erasure thought experiment presented in the film—and its implications for personal identity—raises poignant questions for the ethicist, epistemologist, neuroscientist, metaphysician, and cognitive scientist. In this paper, I explore the rich insights the film has to offer interdisciplinary studies of memory, providing a case study in (...) how narrative can uniquely contribute to memory research, while also maintaining philosophical rigor and fidelity to scientific discoveries about memory. Turning to the philosophical implications of memory erasure, I consider memory erasure in the context of several leading views of personal identity and proposed answers to the persistence question of personal identity, assessing the challenges and complications that the memory erasure thought experiment brought to life by Eternal Sunshine poses to these theories. I argue that the psychological continuity view of personal identity—in its various iterations—does not allow an individual to truly survive the memory erasure procedure. The memory erasure thought experiment presented in Eternal Sunshine—and its metaphysical and epistemological consequences—reveal how we establish the relationship between memories and selfhood, how to define personhood in the presence of both hypothetical and real-world memory loss, and what experiences we value in human life. (shrink)

Based on questions about herself, the character Motoko, in the film Ghost in the Shell, wonders about her continuity over time and her human condition and as a person. Similarly, it is possible to entertain some scenarios in which the addition of elements external to the body produces a similar tension with respect to human persons. One of these scenarios is that of natural cyborgs, as understood by Andy Clark. Based on the notion of natural cyborgs, through the coupling (...) of elements external to the body, not as artificial implants, but within a systemic whole for the realization of cognitive processes and mental states, it is possible to question the maintenance of personal identity and status as a person, as these external elements are increasingly dependent. This is especially true with Alzheimer’s patients. In this work, some notions are minimally clarified, such as extended mind, natural cyborgs and personal identity, which support the further discussion on the possibility of maintaining the personal identity and the status as a person for Alzheimer’s patients, along the progressive process of cognitive deterioration, through the understanding that they are natural cyborgs. (shrink)

Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.

What happens to our minds when we listen to a story or read a book? How about when we watch a play or film? Any story, like a piece of music, plays out across our minds and in the process changes the nature of our notes and expands their range. Stories – whether told orally, read in a book, scrolled through or watched upon screen or stage – enable a metamorphosis of our minds through biological and sociocultural processes operating (...) in concert. (shrink)

This paper introduces the "Status Loss Theory of Humor," as detailed in "How Humor Works" and "How Humor Works, Part II" , in a single page. This theory has the potential to fully, clearly, and naturally explain the human humor instinct, and has made predictions that are being confirmed by other studies.

The extended mind thesis claims that at least some cognitive processes extend beyond the organism’s brain in that they are constituted by the organism’s actions on its surrounding environment. A more radical move would be to claim that social actions performed by the organism could at least constitute some of its mental processes. This can be called the socially extended mind thesis. Based on the notion of affordance as developed in the ecological psychology tradition, I defend the position that perception (...) extends to the environment. Then I will expand the notion of affordance to encompass social affordances. Thus, perception can in some situations also be socially extended. (shrink)

Introductory Chapter to the _Cambridge Handbook of Situated Cognition_ (CUP, 2009).

YouTube has been implicated in the transformation of users into extremists and conspiracy theorists. The alleged mechanism for this radicalizing process is YouTube’s recommender system, which is optimized to amplify and promote clips that users are likely to watch through to the end. YouTube optimizes for watch-through for economic reasons: people who watch a video through to the end are likely to then watch the next recommended video as well, which means that more advertisements can be served to them. This (...) is a seemingly innocuous design choice, but it has a troubling side-effect. Critics of YouTube have alleged that the recommender system tends to recommend extremist content and conspiracy theories, as such videos are especially likely to capture and keep users’ attention. To date, the problem of radicalization via the YouTube recommender system has been a matter of speculation. The current study represents the first systematic, pre-registered attempt to establish whether and to what extent the recommender system tends to promote such content. We begin by contextualizing our study in the framework of technological seduction. Next, we explain our methodology. After that, we present our results, which are consistent with the radicalization hypothesis. Finally, we discuss our findings, as well as directions for future research and recommendations for users, industry, and policy-makers. (shrink)

The study of animal cognition raises profound questions about the minds of animals and philosophy of mind itself. Aristotle argued that humans are the only animal to laugh, but in recent experiments rats have also been shown to laugh. In other experiments, dogs have been shown to respond appropriately to over two hundred words in human language. In this introduction to the philosophy of animal minds Kristin Andrews introduces and assesses the essential topics, problems and debates as they cut (...) across animal cognition and philosophy of mind. She addresses the following key topics: what is cognition, and what is it to have a mind? What questions should we ask to determine whether behaviour has a cognitive basis? the science of animal minds explained: ethology, behaviourist psychology, and cognitive ethology rationality in animals animal consciousness: what does research into pain and the emotions reveal? What can empirical evidence about animal behaviour tell us about philosophical theories of consciousness? does animal cognition involve belief and concepts; do animals have a ‘Language of Thought’? animal communication other minds: do animals attribute ‘mindedness’ to other creatures? moral reasoning and ethical behaviour in animals animal cognition and memory. Extensive use of empirical examples and case studies is made throughout the book. These include Cheney and Seyfarth’s ververt monkey research, Thorndike’s cat puzzle boxes, Jensen’s research into humans and chimpanzees and the ultimatum game, Pankseep and Burgdorf’s research on rat laughter, and Clayton and Emery’s research on memory in scrub-jays. Additional features such as chapter summaries, annotated further reading and a glossary make this an indispensable introduction to those teaching philosophy of mind, animal cognition. It will also be an excellent resource for those in fields such as ethology, biology and psychology. (shrink)

That about sums up what is wrong with Clark's view.

Biogenic approaches investigate cognition from the standpoint of evolutionary function, asking what cognition does for a living system and then looking for common principles and exhibitions of cognitive strategies in a vast array of living systems—non-neural to neural. One worry which arises for the biogenic approach is that it is overly permissive in terms of what it construes as cognition. In this paper I critically engage with a recent instance of this way of criticising biogenic approaches in (...) order to clarify their theoretical commitments and prospects. In his critique of the biogenic approach, Fred Adams uses the presence of intentional states with conceptual content as a criterion to demarcate cognition-driven behaviour from mere sensory response. In this paper I agree with Adams that intentionality is the mark of the cognitive, but simultaneously reject his overly restrictive conception of intentionality. I argue that understanding intentionality simpliciter as the mark of the mental is compatible with endorsing the biogenic approach. I argue that because cognitive science is not exclusively interested in behaviour driven by intentional states with the kind of content Adams demands, the biogenic approach’s status as an approach to cognition is not called into question. I then go on to propose a novel view of intentionality whereby it is seen to exist along a continuum which increases in the degree of representational complexity: how far into the future representational content can be directed and drive anticipatory behaviour. Understanding intentionality as existing along a continuum allows biogenic approaches and anthropogenic approaches to investigate the same overarching capacity of cognition as expressed in its different forms positioned along the continuum of intentionality. Even if all organisms engage in some behaviour that is driven by weak intentional dynamics, this does not suggest that every behaviour of all organisms is so driven. As such, the worry that the biogenic approach is overly permissive can be avoided. (shrink)

Cognition involves physical stimulation, neural coding, mental conception, and conscious perception. Beyond the neural coding of physical stimuli, it is not clear how exactly these component processes constitute cognition. Within mathematical sciences, category theory provides tools such as category, functor, and adjointness, which are indispensable in the explication of the mathematical calculations involved in acquiring mathematical knowledge. More speci cally, functorial semantics, in showing that theories and models can be construed as categories and functors, respectively, and in establishing (...) the adjointness between abstraction (of theories) and interpretation (to obtain models), mathematically accounts for knowing-within-mathematics. Here we show that mathematical knowing recapitulates--in an elementary form--ordinary cognition. The process of going from particulars (physical stimuli) to their concrete models (conscious percepts) via abstract theories (mental concepts) and measured properties (neural coding) is common to both mathematical knowing and ordinary cognition. Our investigation of the similarity between knowing-within-mathematics and knowing-in-general leads us to make a case for the development of the basic science of cognition in terms of the functorial semantics of mathematical knowing. (shrink)

ABSTRACTSilencing is a practice that disrupts linguistic and communicative acts, but its relationship to knowledge and justice is not fully understood. Prior models of epistemic injustice tend to c...

Tracing the leading role of emotions in the evolution of the mind, a philosopher and a psychologist pair up to reveal how thought and culture owe less to our faculty for reason than to our capacity to feel. Many accounts of the human mind concentrate on the brain’s computational power. Yet, in evolutionary terms, rational cognition emerged only the day before yesterday. For nearly 200 million years before humans developed a capacity to reason, the emotional centers of the brain (...) were hard at work. If we want to properly understand the evolution of the mind, we must explore this more primal capability that we share with other animals: the power to feel. Emotions saturate every thought and perception with the weight of feelings. The Emotional Mind reveals that many of the distinctive behaviors and social structures of our species are best discerned through the lens of emotions. Even the roots of so much that makes us uniquely human—art, mythology, religion—can be traced to feelings of caring, longing, fear, loneliness, awe, rage, lust, playfulness, and more. From prehistoric cave art to the songs of Hank Williams, Stephen T. Asma and Rami Gabriel explore how the evolution of the emotional mind stimulated our species’ cultural expression in all its rich variety. Bringing together insights and data from philosophy, biology, anthropology, neuroscience, and psychology, The Emotional Mind offers a new paradigm for understanding what it is that makes us so unique. (shrink)

The concepts expressed by social role terms such as artist and scientist are unique in that they seem to allow two independent criteria for categorization, one of which is inherently normative. This study presents and tests an account of the content and structure of the normative dimension of these “dual character concepts.” Experiment 1 suggests that the normative dimension of a social role concept represents the commitment to fulfill the idealized basic function associated with the role. Background information can affect (...) which basic function is associated with each social role. However, Experiment 2 indicates that the normative dimension always represents the relevant commitment as an end in itself. We argue that social role concepts represent the commitments to basic functions because that information is crucial to predict the future social roles and role-dependent behavior of others. (shrink)

Experimental research suggests that people draw a moral distinction between bad outcomes brought about as a means versus a side effect (or byproduct). Such findings have informed multiple psychological and philosophical debates about moral cognition, including its computational structure, its sensitivity to the famous Doctrine of Double Effect, its reliability, and its status as a universal and innate mental module akin to universal grammar. But some studies have failed to replicate the means/byproduct effect especially in the absence of other (...) factors, such as personal contact. So we aimed to determine how robust the means/byproduct effect is by conducting a meta-analysis of both published and unpublished studies (k = 101; 24,058 participants). We found that while there is an overall small difference between moral judgments of means and byproducts (standardized mean difference = 0.87, 95% CI 0.67 – 1.06; standardized mean change = 0.57, 95% CI 0.44 – 0.69; log odds ratio = 1.59, 95% CI 1.15 – 2.02), the mean effect size is primarily moderated by whether the outcome is brought about by personal contact, which typically involves the use of personal force. (shrink)

Enactivists often defend the following two claims: Successful interactions are not driven and explained by the interactors’ ability to mindread. And the mechanisms enabling 2nd personal social cognition and those enabling 3rd personal social cognition are distinct. In this paper, I argue that both of these claims are false. With regard to I argue that enactivists fail to provide a plausible alternative to traditional accounts of social cognition in interaction. I examine and reject Hanne De Jaegher’s view (...) according to which interaction is “constitutive” for social interaction. Furthermore, I critically discuss Shaun Gallagher’s and Daniel Hutto’s views according to which social interactions are exclusively driven by low level cognitive mechanisms such as “gaze following” and “emotion detection”. Concerning, I rely on data from so called “spontaneous response” false belief tasks to show that interactive and observational paradigms require the same “social-cognitive” interpretation. (shrink)

An application of some recent work on the science of generic thought.

Analysis of grip force signals tailored to hand and finger movement evolution and changes in grip force control during task execution provide unprecedented functional insight into somatosensory cognition. Somatosensory cognition is a basis of our ability to manipulate, move, and transform objects of the physical world around us, to recognize them on the basis of touch alone, and to grasp them with the right amount of force for lifting and manipulating them. Recent technology has permitted the wireless monitoring (...) of grip force signals recorded from biosensors in the palm of the human hand to track and trace human grip forces deployed in cognitive tasks executed under conditions of variable sensory (visual, auditory) input. Non-invasive multi-finger grip force sensor technology can be exploited to explore functional interactions between somatosensory brain mechanisms and motor control, in particular during learning a cognitive task where the planning and strategic execution of hand movements is essential. Sensorial and cognitive processes underlying manual skills and/or hand-specific (dominant versus non-dominant hand) behaviors can be studied in a variety of contexts by probing selected measurement loci in the fingers and palm of the human hand. Thousands of sensor data recorded from multiple spatial locations can be approached statistically to breathe functional sense into the forces measured under specific task constraints. Grip force patterns in individual performance profiling may reveal the evolution of grip force control as a direct result of cognitive changes during task learning. Grip forces can be functionally mapped to from-global-to-local coding principles in brain networks governing somatosensory processes for motor control in cognitive tasks leading to a specific task expertise or skill. Under the light of a comprehensive overview of recent discoveries into the functional significance of human grip force variations, perspectives for future studies in cognition, in particular the cognitive control of strategic and task relevant hand movements in complex real-world precision task, are pointed out. (shrink)

I argue that bounded agents face a systematic accuracy-coherence tradeoff in cognition. Agents must choose whether to structure their cognition in ways likely to promote coherence or accuracy. I illustrate the accuracy-coherence tradeoff by showing how it arises out of at least two component tradeoffs: a coherence-complexity tradeoff between coherence and cognitive complexity, and a coherence-variety tradeoff between coherence and strategic variety. These tradeoffs give rise to an accuracy-coherence tradeoff because privileging coherence over complexity or strategic variety often (...) leads to a corresponding reduction in accuracy. I conclude with a discussion of two normative consequences for the study of bounded rationality: the importance of procedural rationality and the role of coherence in theories of bounded rationality. (shrink)

Discursive cognition of the sort that accompanies the grasp of a natural language involves an ability to self-govern by framing and following rules concerning what reason prescribes. In this essay I argue that the formal features of a planning semantics for the deontic and intentional modalities suggest a picture on which shared intentional mental states are a more primitive kind of cognition than that which accompanies the ability to frame and follow a rule, so that deontic cognition—and (...) the autonomous rationality attending the ability to speak a natural language—might be understood as an evolutionary development out of the capacity to share intentions. In the course of defending this picture, I argue that it is supported by work in social psychology, evolutionary anthropology, and primatology concerning the phylogenetic and ontogenetic development of norm psychology and shared intentionality in human beings. (shrink)