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  1. How the Mind Works.Steven Pinker - 1997 - Norton.
    A provocative assessment of human thought and behavior, reissued with a new afterword, explores a range of conundrums from the ability of the mind to perceive three dimensions to the nature of consciousness, in an account that draws on ...
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  • The Ecological Approach to Visual Perception.James J. Gibson - 1979 - Houghton Mifflin.
    This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...)
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  • The Aesthetics of Music.Gary Iseminger - 1997 - Journal of Aesthetics and Art Criticism 57 (3):374-375.
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  • Relevance: Communication and Cognition.Dan Sperber & Deirdre Wilson - 1986 - Oxford: Blackwell.
     
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  • The Senses Considered as Perceptual Systems.James Jerome Gibson - 1966 - Boston, USA: Houghton Mifflin.
    Describes the various senses as sensory systems that are attuned to the environment. Develops the notion of rich sensory information that specifies the distal environment. Includes a discussion of affordances.
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  • Reference and Consciousness.John Campbell - 2006 - Philosophy and Phenomenological Research 72 (2):490-494.
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  • Reference and Consciousness.J. Campbell - 2002 - Oxford University Press.
    John Campbell investigates how consciousness of the world explains our ability to think about the world; how our ability to think about objects we can see depends on our capacity for conscious visual attention to those things. He illuminates classical problems about thought, reference, and experience by looking at the underlying psychological mechanisms on which conscious attention depends.
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  • Enacting Musical Experience.Joel Krueger - 2009 - Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...)
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  • Why Does Music Move Us?Björn Vickhoff & Helge Malmgren - 2004 - Philosophical Communications.
    The communication of emotion in music has with few exceptions, as L. B. Meyer´s Emotion and Meaning in Music (1956) and the contour theory (Kivy 1989, 2002), focused on music structure as representations of emotions. This implies a semiotic approach - the assumption that music is a kind of language that could be read and decoded. Such an approach is largely restricted to the conscious level of knowing, understanding and communication. We suggest an understanding of music and emotion based on (...)
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  • An Outline of a Theory of Affordances.Anthony Chemero - 2003 - Ecological Psychology 15 (2):181-195.
    The primary difference between direct and inferential theories of perception concerns the location of perceptual content, the meaning of our perceptions. In inferential theories of perception, these meanings arise inside animals, based upon their interactions with the physical environment. Light, for example, bumps into receptors causing a sensation. The animal (or its brain) performs inferences on the sensation, yielding a meaningful perception. In direct theories of perception, on the other hand, meaning is in the environment, and perception does not depend (...)
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  • The Aesthetics of Music.Roger Scruton - 1997 - Oxford University Press.
    What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a compelling case (...)
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  • The Ecological Approach to Visual Perception.Marc H. Bornstein - 1980 - Journal of Aesthetics and Art Criticism 39 (2):203-206.
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  • Joint Attention to Music.Tom Cochrane - 2009 - British Journal of Aesthetics 49 (1):59-73.
    This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, and second (...)
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  • Hearing What the Body Feels: Auditory Encoding of Rhythmic Movement.Jessica Phillips-Silver & Laurel J. Trainor - 2007 - Cognition 105 (3):533-546.
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  • The Senses Considered as Perceptual Systems.Charles K. West & James J. Gibson - 1969 - Journal of Aesthetic Education 3 (1):142.
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  • Aesthetics and Music. [REVIEW]Andy Hamilton - 2009 - Analysis 69 (2):397-398.
    Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative. He interleaves chapters on the history of philosophical thought about music with more theoretical discussions of music, sound, rhythm and improvisation, but does not cover the work–performance relation, depiction or expression. He draws on an atypically broad range of examples, including avant-garde, medieval, non-Western and jazz. The assumptions are humanist: ‘I wish to argue for an aesthetic conception of music as an art … according to which music (...)
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  • Conscious Reference.Alva Noë - 2009 - Philosophical Quarterly 59 (236):470-482.
    The world shows up to perceptual consciousness in virtue of the deployment of distinct sensorimotor and also conceptual skills. The availability of the world to thought is, in contrast, to be explained in connection with the different sorts of skills put to work in thought. I show that thought and experience are varieties of skilful access to the world. The aim of the paper is to present the outlines of a general theory of access.
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  • Collected Papers.Alfred Schutz - 1962 - Distributor for the U.S. And Canada Kluwer Boston.
    Following the thematic divisions of the first three volumes of Alfred Schutz's Collected Papers into The Problem of Social Reality, Studies in Social Theory and Phenomenological Philosophy, this fourth volume contains drafts of unfinished writings, drafts of published writings, translations of essays previously published in German, and some largely unpublished correspondence. The drafts of published writings contain important material omitted from the published versions, and the unfinished writings offer important insights into Schutz's otherwise unpublished ideas about economic and political theory (...)
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  • Ecological Psychology in Context: James Gibson, Roger Barker, and the Legacy of William James's Radical Empiricism.Harry Heft - 2002 - Transactions of the Charles S. Peirce Society 38 (3):468-472.
     
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  • Making Music Together: A Study in Social Relationship.Alfred Schütz - forthcoming - Social Research.
     
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  • Auditory Perception.Casey O'Callaghan - 2014 - Stanford Encyclopedia of Philosophy 2009.