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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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.

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)

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.

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

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)

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)

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 enable a metamorphosis of our minds through biological and sociocultural processes operating in concert.

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)

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)

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)

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.

According to the hypotheses of distributed and extended cognition, remembering does not always occur entirely inside the brain but is often distributed across heterogeneous systems combining neural, bodily, social, and technological resources. These ideas have been intensely debated in philosophy, but the philosophical debate has often remained at some distance from relevant empirical research, while empirical memory research, in particular, has been somewhat slow to incorporate distributed/extended ideas. This situation, however, appears to be changing, as we witness an increasing (...) level of interaction between the philosophy and the empirical research. In this editorial, we provide a high-level historical overview of the development of the debates around the hypotheses of distributed and extended cognition, as well as relevant theory and empirical research on memory, considering both the role of memory in theoretical debates around distributed/extended ideas and strands of memory research that resonate with those ideas; we emphasize recent trends towards increased interaction, including new empirical paradigms for investigating distributed memory systems. We then provide an overview of the special issue itself, drawing out a number of general implications from the contributions, and conclude by sketching promising directions for future research on distributed memory. (shrink)

Credences are similar to levels of confidence, represented as a value on the [0,1] interval. This chapter sheds light on questions about credence, including its relationship to full belief, with an eye toward the empirical relevance of credence. First, I’ll provide a brief epistemological history of credence and lay out some of the main theories of the nature of credence. Then, I’ll provide an overview of the main views on how credences relate to full beliefs. Finally, I’ll turn to the (...) empirical, and suggest some ways that cognitive science does and could answer questions about credence, such as what credences one has, how credences relate to beliefs, and the extent to which we can control our credences. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they (...) can come together. (shrink)

I propose to study one problem for epistemic dependence on experts: how to locate experts on what I will call cognitive islands. Cognitive islands are those domains for knowledge in which expertise is required to evaluate other experts. They exist under two conditions: first, that there is no test for expertise available to the inexpert; and second, that the domain is not linked to another domain with such a test. Cognitive islands are the places where we have the fewest resources (...) for evaluating experts, which makes our expert dependences particularly risky. -/- Some have argued that cognitive islands lead to the complete unusability of expert testimony: that anybody who needs expert advice on a cognitive island will be entirely unable to find it. I argue against this radical form of pessimism, but propose a more moderate alternative. I demonstrate that we have some resources for finding experts on cognitive islands, but that cognitive islands leave us vulnerable to an epistemic trap which I will call runaway echo chambers. In a runaway echo chamber, our inexpertise may lead us to pick out bad experts, which will simply reinforce our mistaken beliefs and sensibilities. (shrink)

Humans and other animals have an evolved ability to detect discrete magnitudes in their environment. Does this observation support evolutionary debunking arguments against mathematical realism, as has been recently argued by Clarke-Doane, or does it bolster mathematical realism, as authors such as Joyce and Sinnott-Armstrong have assumed? To find out, we need to pay closer attention to the features of evolved numerical cognition. I provide a detailed examination of the functional properties of evolved numerical cognition, and propose that (...) they prima facie favor a realist account of numbers. (shrink)

The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay “The (...) Orthopsychic Subject: Film Theory and the Reception of Lacan” was published in 1989, the trajectory of Lacanian film theory would become radically altered; as Todd McGowan recently put it, the “butchered operation” on Lacan committed by Mulvey and (quoting Copjec) the “Foucaultianization” of Lacan under the auspices of Screen Journal were finally indicted in one gesture through Copjec’s critique. Copjec and McGowan’s unique American view of Lacan marks a pivotal point in the convergence of psychoanalytic theory and cinema studies; by seeking to wrest Lacan from historist/deconstructionist theories of the subject, and by revisiting Lacan beyond the mirror stage, Copjec and McGowan can be said to have instantiated a resuscitation or even a renaissance of Lacanian theory in film studies in particular and in American scholarship more generally. In this essay, this renaissance of Lacanian theory is examined, focusing on the innovations these two American thinkers brought to psychoanalytic film theory and the multiple paths carved out into other disciplines that followed. First, a detailed summation of the contentions between screen theory and Copjec’s position is introduced, as well as McGowan’s assessment thereof. Then, the trajectory of psychoanalytic film theory after Copjec’s arrival is the focus, including the major innovations in her thought from cinematic subjectivity to sexual difference (most notably from Read My Desire) and the way her position spread to philosophy and ontology. Finally, the article identifies the limitations of Copjec’s and McGowan’s thought and seeks new possibilities through which we may continue to apply psychoanalysis to the cinema in the wake of these two important thinkers. L’importation de la psychanalyse lacanienne dans la théorie du film au cours des années 1970 et 1980 a apporté une nouvelle ère de recherche et de critique cinématographiques. Des figures comme Raymond Bellour, Laura Mulvey et Christian Metz sont souvent considérées comme étant les pionniers dans l’application de la psychanalyse lacanienne au contexte de la théorie du film, surtout dans leurs écrits pour le Screen Journal. Par contre, là où les recherches françaises et britanniques sur Lacan et la cinématographie ont atteint leurs limites, le lacanisme américain a prospéré. La publication en 1989 de « The Orthopsychic Subject: Film Theory and the Reception of Lacan », l’essai classique de Joan Copjec, a complètement changé la trajectoire de la théorie lacanienne du film; comme Todd McGowan l’a récemment exprimé, « l’opération massacrée » commise sur Lacan par Mulvey et (citant Copjec) la « Foucaultisation » de Lacan sous les auspices de Screen Journal avaient finalement été accusées d’un seul coup par la critique de Copjec. Le point de vue uniquement américain de Copjec et de McGowan sur Lacan marque un tournant dans la convergence de la théorie psychanalytique et des études cinématographiques. En cherchant à arracher Lacan des théories historicistes/déconstructivistes du sujet, et en revisitant Lacan au-delà du stade du miroir, Copjec et McGowan ont instancié une ressuscitation, voire une renaissance, de la théorie lacanienne dans les études cinématographiques en particulier et dans les études américaines en général. Dans cet article, cette renaissance de la théorie lacanienne est examinée, mettant l’accent sur les innovations que ces deux penseurs américains ont apportées à la théorie psychanalytique du film et les multiples chemins tracés dans d’autres disciplines subséquentes. Premièrement, un résumé détaillé des différends entre la théorie du film et la position de Copjec est présenté, ainsi que l’évaluation de McGowan à ce sujet. Puis, la trajectoire de la théorie psychanalytique du film après l’arrivée de Copjec est mise de l’avant, notamment les innovations importantes de sa pensée de la subjectivité à la différence sexuelle (particulièrement dans Read My Desire) et la manière dont sa position s’est propagée dans la philosophie et l’ontologie. Finalement, l’article identifie les limites de la pensée de Copjec et de McGowan et cherche de nouvelles possibilités à travers lesquelles nous pourrions continuer d’appliquer la psychanalyse au cinéma après ces deux grands penseurs. (shrink)

We outline a framework of multilevel neurocognitive mechanisms that incorporates representation and computation. We argue that paradigmatic explanations in cognitive neuroscience fit this framework and thus that cognitive neuroscience constitutes a revolutionary break from traditional cognitive science. Whereas traditional cognitive scientific explanations were supposed to be distinct and autonomous from mechanistic explanations, neurocognitive explanations aim to be mechanistic through and through. Neurocognitive explanations aim to integrate computational and representational functions and structures across multiple levels of organization in order to explain (...) cognition. To a large extent, practicing cognitive neuroscientists have already accepted this shift, but philosophical theory has not fully acknowledged and appreciated its significance. As a result, the explanatory framework underlying cognitive neuroscience has remained largely implicit. We explicate this framework and demonstrate its contrast with previous approaches. (shrink)

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the (...) Nazi regime was not pure propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria. (shrink)

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – (...) Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections. (shrink)

The cultural transmission of theological concepts remains an underexplored topic in the cognitive science of religion (CSR). In this paper, I examine whether approaches from CSR, especially the study of content biases in the transmission of beliefs, can help explain the cultural success of some theological concepts. This approach reveals that there is more continuity between theological beliefs and ordinary religious beliefs than CSR authors have hitherto recognized: the cultural transmission of theological concepts is influenced by content biases that also (...) underlie the reception of ordinary religious concepts. (shrink)

We advance an account that grounds cognition, specifically decision-making, in an activity all organisms as autonomous systems must perform to keep themselves viable—controlling their production mechanisms. Production mechanisms, as we characterize them, perform activities such as procuring resources from their environment, putting these resources to use to construct and repair the organism's body and moving through the environment. Given the variable nature of the environment and the continual degradation of the organism, these production mechanisms must be regulated by control (...) mechanisms that select when a production is required and how it should be carried out. To operate on production mechanisms, control mechanisms need to procure information through measurement processes and evaluate possible actions. They are making decisions. In all organisms, these decisions are made by multiple different control mechanisms that are organized not hierarchically but heterarchically. In many cases, they employ internal models of features of the environment with which the organism must deal. Cognition, in the form of decision-making, is thus fundamental to living systems which must control their production mechanisms. (shrink)

Há muito tempo, o filme noir americano tem sido objeto de estudos críticos, que buscam decifrar a sua estética enigmática e a mensagem desafiadora. Trilhando sobre o lado mais negativo da vida humana, a questão central que ele propõe é: o que o noir representa, como forma singular de arte cinematográfica? Ora, compreender o filme noir passa pela necessidade de vê-lo no âmbito da matriz histórica de produção que lhe serviu de berço. Essa matriz é o chamado cinema clássico hollywoodiano, (...) à luz do qual iniciaremos a nossa investigação do significado desse ciclo de filmes, com base em um sumário desenvolvido pelo professor David Bordwell, autoridade em narrativa clássica. Para tanto, nós buscaremos subsídios conceituais em uma corrente de pensamento igualmente ampla, a fenomenologia hermenêutica, que, acreditamos, poderá nos proporcionar alguma elucidação semântica, tendo em vista o notório esforço dos filósofos dessa tradição para clarificar o propósito da obra de arte, no ser da existência. Assim, ao estabelecer como termos comparativos o cinema clássico e a inquirição hermenêutica, conseguiremos padrões de referência sólidos para a nossa atividade exegética, que tanto se aplica ao conjunto dos filmes noir - especialmente aos da fase clássica, dos anos 1940 e 50 - quanto a um longa-metragem individual. Nessa empreitada, porém, não partiremos do zero, como se o cinema houvesse começado ontem. Antes, nos servirá de fio condutor certa teoria explicativa da técnica cinematográfica, em cujos esteios figuram nomes como André Bazin, Ismail Xavier e Marcia Ortegosa, além de Bill Nichols, o principal expoente dos estudos sobre documentários. Tal explanação de teor linguístico e semiótico, com ênfase nos aspectos lógicos-metadiscursivos do filme noir, será discriminada logo no início do trabalho, para que possamos firmar parâmetros de julgamento crítico, tendo em vista a reflexão semântica e fenomenológica que se seguirá. O objetivo dessa reflexão é entender o assim chamado dark cinema no seio do nosso próprio modo de ser no mundo. Dessa forma, se conseguirmos trazer um pouco de luz às trilhas obscuras do mundo noir, este autor se dará por recompensado. (shrink)

Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of ‘arthouse’ and Hollywood films. Each chapter contains a discussion of two films—one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different films, (...) registers, and genres. The readings are not only interpretive, but they offer a way of thinking and feeling about, with, and through films which is genuinely transformative. Rupert Read’s main contention is that certain films can bring about a change in how we see the world. He advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer’s relationship to the environment and other living beings. The transformative 'wake-up call' of these films is enlightenment in its true sense. The result is a book that ambitiously aims to change, though film, how we think of ourselves and our place in the world, at a time when such change is more needed than ever before. (shrink)

There is no abstract for this chapter. The following is a summary. -/- We distinguish between, explicit, inadvertent, and habitual racist actions. We argue that while inadvertent bigots and habitual racists are inclined to (sincerely) deny that they committed a racially motivated action, they have different reasons for their denial. Inadvertent bigots are denying it because, however deeply they search, they are not going to find any such motive. Habitual racists, by contrast, may hold explicit egalitarian attitudes but they are (...) nonetheless implicitly racially motivated. There is thus an implicit stressful conflict between their covert racist intentions and their overt egalitarian attitudes. While they aren’t aware of the source of this distress, cognitive dissonance theory predicts that they nevertheless will engage in dissonance-reducing strategies. Specifically, we argue that habitual racists will be inclined to confabulate a description of the action in non-racial terms. (shrink)

According to the extended cognition thesis, an agent’s cognitive system can sometimes include extracerebral components amongst its physical constituents. Here, we show that such a view of cognition has an unjustifiably anthropocentric focus, for it tends to depict cognitive extensions as a human-only affair. In contrast, we will argue that if human cognition extends, then the cognition of many non-human animals extends too, for many non-human animals rely on the same cognition-extending strategies humans rely on. (...) To substantiate this claim, we will proceed as follows. First (Sect. 1), we will introduce the extended cognition thesis, exposing its anthropocentric bias. Then, we will show that humans and many non-human animals rely on the same cognition-extending strategies. To do so, we will discuss a variety of case studies, including “intrabodily” cognitive extensions such as the spinal cord (Sect. 2), the widespread reliance on epistemic actions to solve cognitive tasks (Sect. 3) and cases of animal cognitive offloading (Sect. 4). We’ll then allay some worries our claim might raise (Sect. 5) to then conclude the paper (Sect. 6). (shrink)

This project continues our interdisciplinary research into computational and cognitive aspects of narrative comprehension. Our ultimate goal is the development of a computational theory of how humans understand narrative texts. The theory will be informed by joint research from the viewpoints of linguistics, cognitive psychology, the study of language acquisition, literary theory, geography, philosophy, and artificial intelligence. The linguists, literary theorists, and geographers in our group are developing theories of narrative language and spatial understanding that are being tested by the (...) cognitive psychologists and language researchers in our group, and a computational model of a reader of narrative text is being developed by the AI researchers, based in part on these theories and results and in part on research on knowledge representation and reasoning. This proposal describes the knowledge-representation and natural-language-processing issues involved in the computational implementation of the theory; discusses a contrast between communicative and narrative uses of language and of the relation of the narrative text to the story world it describes; investigates linguistic, literary, and hermeneutic dimensions of our research; presents a computational investigation of subjective sentences and reference in narrative; studies children’s acquisition of the ability to take third-person perspective in their own storytelling; describes the psychological validation of various linguistic devices; and examines how readers develop an understanding of the geographical space of a story. This report is a longer version of a project description submitted to NSF. This document, produced in May 2007, is a L ATEX version of Technical Report 89-07 (Buffalo: SUNY Buffalo Department of Computer Science, August 1989), with slightly.. (shrink)

This paper outlines a semantic account of attitude reports and deontic modals based on cognitive and illocutionary products, mental states, and modal products, as opposed to the notion of an abstract proposition or a cognitive act.