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Profile: William P. Seeley (Bates College)
  1.  53
    William Seeley & Aaron Kozbelt (2008). Art, Artists, and Perception: A Model for Premotor Contributions to Perceptual Analysis and Form Recognition. Philosophical Psychology 21 (2):149 – 171.
    Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for object (...)
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  2.  3
    William W. Seeley & Bruce L. Miller (2005). Disorders of the Self in Dementia. In Todd E. Feinberg & Julian Paul Keenan (eds.), The Lost Self: Pathologies of the Brain and Identity. Oxford University Press 147--165.
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  3.  39
    William P. Seeley (2010). Imagining Crawling Home: A Case Study in Cognitive Science and Aesthetics. Review of Philosophy and Psychology 1 (3):407-426.
    Philosophical accounts of narrative fiction can be loosely divided into two types. Participant accounts argue that some sort of simulation, or 1st person perspective taking plays a critical role in our engagement with narratives. Observer accounts argue to the contrary that we primarily engage narrative fictions from a 3rd person point of view, as either side participants or outside observers. Recent psychological research suggests a means to evaluate this debate. The perception of distance and slope is influenced by the energetic (...)
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  4.  12
    Noël Carroll & William P. Seeley (2013). Kinesthetic Understanding and Appreciation in Dance. Journal of Aesthetics and Art Criticism 71 (2):177-186.
    The idea that choreographic movements communicate to audiences by kinetic transfer is a commonplace among choreographers, dancers, and dance educators.1 Moreover, most dance lovers can cite their own favorite examples—the bounciness of the Royal Danish Ballet, the stomping of Bharata Natyam performers, the stag leaps in the thundering Greek chorus in Martha Graham’s Night Journey, or the contagious rhythmic transfer that takes over our feet when we watch classic tap dancers like Buster Brown. The perceptual capacity for kinetic (...)
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  5.  14
    William P. Seeley (2008). Philosophy and Conceptual Art Edited by Goldie, Peter, and Elisabeth Schellekens. Journal of Aesthetics and Art Criticism 66 (2):203–205.
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