Neuroscience of art might give us traction with aesthetic issues. However it can be seen to have trouble modeling the artistically salient semantic properties of artworks. So if meaning really matters, and it does, even in aesthetic contexts, the prospects for this nascent field are dim. The issue boils down to a question of whether or not we can get a grip on the kinds of constraints present and available to guide interpretive behavior in our engagement with works of fine (...) art. I argue that biased competition models of selective attention can be used to solve this problem, generalize to the affective content of our responses to artworks, and so show that research in cognitive neuroscience is germane to the types of problems of interest within the philosophy of art. (shrink)

A broad range of behavior is associated with crossmodal perception in the arts. Philosophical explanations of crossmodal perception often make reference to neuroscientific discussions of multisensory integration in selective attention. This research demonstrates that superior colliculus plays a regulative role in attention, integrating unique modality specific visual, auditory, and somatosensory spatial maps into a common spatial framework for action, and that motor skill, emotional salience, and semantic salience contribute to the integration of auditory, visual, and somatosensory information in ordinary perceptual (...) contexts. I present a model for multisensory integration in our engagement with artworks derived from a diagnostic recognition framework for object recognition and a biased competition model for selective attention. The proposed model attributes a role to superior colliculus in a broader fronto-parietal attentional network that integrates sensory information, primes perceptual systems to the expectation of stimulus features salient to particular sensorimotor or cognitive tasks at particular locations, and inhibits the perception of task irrelevant distracters. I argue that this model demonstrates that crossmodal effects are the rule not the exception in perception and discuss ways in which it explains a range of crossmodal effects in our engagement with pictures, dance, and musical performances. (shrink)

In his autobiography, Mr Leonard Woolf very forcibly protests Lord Keynes's familiar account of the kind of influence G. E. Moore had exerted over those who were later to become members of the Bloomsbury Group. You will remember that Keynes, writing in 1938 about his early beliefs as an undergraduate at Cambridge, maintained of himself and his companions: ‘We accepted Moore's religion … and discarded his morals … meaning by “religion” one's attitude towards oneself and the ultimate and by “morals” (...) one's attitude towards the outside world and the intermediate. (shrink)

Between Ennius and Vergil the Latin epic hexameter underwent dramatic changes in both prosody and diction.1 The precise history of these changes remains obscure, although it is clear from Catullan spondiazontes and Lucretian archaisms, from variation in the use of enjambment and the history of Hermann's bridge, that the versatile and expressive instrument the hexameter was to become in Vergil's hands was not the result of linear development. In fact, despite the pivotal role often assigned to Cicero, 2 in many (...) ways the last one hundred years of the Republic is better characterized as a period of poetic variety and innovation than one of linear progress toward classical perfection. The fragments of Furius Antias can shed light on this period of change. They show remarkable prosodic characteristics and verbal finesse, and they appear to have influenced both Vergil and Ovid. (shrink)

Thomas Kuhn's shadow hangs over almost every field of intellectual inquiry. His book The Structure of Scientific Revolutions has become a modern classic. His influence on philosophy, social science, historiography, feminism, theology, and (of course) the natural sciences themselves is unparalleled. His epoch-making concepts of 'new paradigm' and 'scientific revolution' make him probably the most influential scholar of the twentieth century. Sharrock and Read take the reader through Kuhn's work in a careful and accessible way, emphasizing Kuhn's detailed studies of (...) the history of science, which often assist the understanding of his more abstract philosophical work. These historical studies provide vital insight into what Kuhn was actually trying to achieve in his The Structure of Scientific Revolutions: an endeavour far less extreme than either his 'foes' or his 'fans' claim. In the book's second half, Sharrock and Read provide excellent explications, defences and, where appropriate, criticisms of Kuhn's central concept of 'incommensurability', and tackle head on the crucial issue of whether Kuhn's insights concerning the natural sciences can be extrapolated to other disciplines, such as the social sciences. This is the first comprehensive introduction to the work of Kuhn and it will be of particular interest to students and scholars in philosophy, theory of science, management science and anthropology. (shrink)