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William Seeley [31]William P. Seeley [7]William W. Seeley [1]
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William Seeley
University of New Hampshire, Manchester
  1.  15
    Olfaction, Valuation, and Action: Reorienting Perception.Jason B. Castro & William P. Seeley - 2014 - Frontiers in Psychology 5.
    In the philosophy of perception, olfaction is the perennial problem child, presenting a range of difficulties to those seeking to define its proper referents, and its phenomenological content. Here, we argue that many of these difficulties can be resolved by recognizing the object-like representation of odors in the brain, and by postulating that the basic objects of olfaction are best defined by their biological value to the organism, rather than physico-chemical dimensions of stimuli. Building on this organism-centered account, we speculate (...)
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  2.  54
    Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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  3. Cognitivism, Psychology and Neuroscience: Movies as Attentional Engines.William Seeley & Noel Carroll - 2013 - In Arthur Shimamura (ed.), Psychocinematics: Exploring Cognition at the Movies. New York, NY, USA: pp. 53-75.
    Artworks are attentional engines, or artifacts intentionally designed to direct attention to formal features that are diagnostic for their artistically salient aesthetic, expressive, and semantic content. This is nowhere more true than the movies. Moving pictures are constructed from a suite of formal and narrative devices carefully developed to capture, hold, and direct our attention. These devices are tools for developing content by controlling the way information is presented throughout the duration of our engagement with a movie. In this respect (...)
     
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  4.  9
    Empirical Aesthetics.William Seeley - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics (2 ed.). New York, NY, USA: Oxford University Press.
  5. Art, Meaning, and Aesthetics: The Case for a Cognitive Neuroscience of Art.William Seeley - 2015 - In Joseph P. Huston, Marcos Nadal, Francisco Mora, Luigi F. Agnati & Camilo Jose Cela Conde (eds.), Art, Aesthetics and the Brian. New York, NY, USA: pp. 19-39.
    Empirical aesthetics and philosophy of art are often framed as disciplines in conflict with one another. Psychologists working in empirical aesthetics argue that philosophical theories of art reflect the evaluative biases of critics and experts and so fail as objective accounts of artistic practice. Philosophers argue that the causal-psychological explanations appealed to in empirical aesthetics can not account for the role normative conventions play in appreciative judgements, and so fail to differentiate artworks and artistic practices from ordinary artifacts and behaviors. (...)
     
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  6.  69
    Art, Artists, and Perception: A Model for Premotor Contributions to Perceptual Analysis and Form Recognition.William Seeley & Aaron Kozbelt - 2008 - 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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  7.  10
    Disorders of the Self in Dementia.William W. Seeley & Bruce L. Miller - 2005 - In Todd E. Feinberg & Julian Paul Keenan (eds.), The Lost Self: Pathologies of the Brain and Identity. Oxford University Press. pp. 147--165.
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  8. A Visuomotor Skill Model for Artists' Advantages in Drawing, Visual Analysis, and Form Recognition.William Seeley & Aaron Kozbelt - 2004 - In Art and Science: Proceedings of the International Association of Empirical Aesthetics, Volume XVIII. pp. 645-648.
     
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  9. Cognitive Theory and the Individual Film: The Case of Rear Window.William Seeley & Noel Carroll - 2014 - In Ted Nannicelli and Paul Alexander Taberham (ed.), Cognitive Media Theory. New York, NY, USA: pp. 2350252.
    It has been argued that motion picture theory, or as we prefer to call it theory of the moving image, is too abstract, generalized , or theoretical to be of use for movie makers and critics interested in the production and analysis of particular films. We apply the framework and resources of Cognitivist Film Theory to explain some of the particular ways that Alfred Hitchcock's Rear Window works to engage audiences with an eye to allaying the skeptics doubts.
     
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  10. What is the Cognitive Neuroscience of Art…and Why Should We Care?William Seeley - 2011 - American Society for Aesthetics Newsletter 31 (2):1-4.
  11.  78
    Imagining Crawling Home: A Case Study in Cognitive Science and Aesthetics.William P. Seeley - 2010 - 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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  12. Artworks Are Attentional Engines: Normative Conventions and Evaluative Perception in the Arts.William Seeley - 2014 - In Aaron Kozbelt (ed.), Proceedings of the International Association of Empirical Aesthetics. pp. 372-376.
    There is a standard skeptical concern within philosophy of art that causal explanations in psychology and neuroscience apply equally to our engagement with art that is done well and art that is done poorly and so do not contribute to our understanding of the normative dimension of artistic appreciation. This skeptical concern is often used to challenge the relevance of psychology and neuroscience to our understanding of art. I sketch a crossmodal model for perception which demonstrates that those affective processes (...)
     
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  13. Movement, Gesture, and Meaning: A Sensorimotor Model for Audience Engagement with Dance.William Seeley - 2013 - In Helena De Preester (ed.), Moving Imagination: Explorations of Gesture and Inner Movement. Philadelphia: pp. 51-68.
    The neuroscience of dance is a vibrant, fast growing field which embodies the promise of a genuine and productive interdisciplinary rapprochement between neuroscience and art. The strength of this field lies in the way it ties the experience of dance to sensorimotor processes that underwrite our ordinary perceptual engagement with the environment. Motor simulation and mimicry enhance our capacity to interpret the goals, motives, and emotions of others. Recent studies demonstrate that these same processes enable us to recognize abstract dance (...)
     
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  14. Neuroscience, Narrative, and Emotion Regulation.William Seeley - 2018 - In Roger Kurtz (ed.), Trauma and Literature. New York, NY, USA: pp. 153-166.
    Recent findings in affective and cognitive neuroscience underscore the fact that traumatic memories are embodied and inextricably integrated with the affective dimensions of associated emotional responses. These findings can be used to clarify, and in some cases challenge, traditional claims about the unrepresentability of traumatic experience that have been central to trauma literary studies. The cognitive and affective dimensions experience and memory are closely integrated. Recollection is always an attenuated form of embodied reenactment. Further, situation models for narrative comprehension show (...)
     
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  15. Philosophy of Art and Empirical Aesthetics: Resistance and Rapprochement.William Seeley - 2013 - In Pablo P. L. Tinio & Jeffrey K. Smith (eds.), Cambridge Handbook of the Psychology of Aesthetics and the Arts. New York, NY, USA: pp. 35-59.
    The philosophy of art and empirical aesthetics are, to all outward appearances, natural bedfellows, disciplines bound together by complimentary methodologies and the common goal of explaining a shared subject matter. Philosophers are in the business of sorting out the ontological and normative character of different categories of objects, events and behaviors, squaring up our conception of the nature of things, and clarifying the subject matter of different avenues of intellectual exploration via careful conceptual analyses of often complex conventional practices. Psychologists (...)
     
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  16.  12
    Democratizing Visual Stylometry: Analysis of Artistic Style Through Computational Workflows.William Seeley, Catherine A. Buell & Rickey J. Sethi - manuscript
    Visual stylometry is a new interdisciplinary research field that sits at the junction of digital humanities, empirical aesthetics, and computer science. Research in this field employs image analysis algorithms to study key aspects of artistic style. The nature of artistic style is the subject of ongoing debate within art history and philosophy of art. Computational and statistical methods in visual stylometry allow researchers to quantify and compare aspects of artistic style over the course of the career of an individual artist, (...)
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  17. Naturalizing Aesthetics: Art and the Cognitive Neuroscience of Vision.William Seeley - 2006 - Journal of Visual Arts Practice 5 (3):195-213.
    Recent advances in out understanding of the cognitive neuroscience of perception have encouraged cognitive scientists and scientifically minded philosophers to turn their attention towards art and the problems of philosophical aesthetics. This cognitive turn does not represent an entirely novel paradigm in the study of art. Alexander Baumgarten originally introduced the term ‘aesthetics’ to refer to a science of perception. Artist’s formal methods are a means to cull the structural features necessary for constructing clear perceptual representations from the dense flux (...)
     
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  18.  15
    CHATTERJEE, ANJAN. The Aesthetic Brain: How We Evolved to Desire Beauty and Enjoy Art. Oxford University Press, 2013, Xxiii + 217 Pp., $36.95 Cloth. [REVIEW]William P. Seeley - 2016 - Journal of Aesthetics and Art Criticism 74 (4):430-432.
  19.  19
    Book Review: Starr, G. Gabrielle. Feeling Beauty: The Neuroscience of Aesthetic Experience MIT Press, 2013, Xx + 259 Pp., 19 Color Illus., $25.00 Cloth. [REVIEW]William P. Seeley - 2014 - Journal of Aesthetics and Art Criticism 72 (3):342-345.
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  20.  27
    Stock, Kathleen and Katherine Thomson-Jones, Eds. New Waves in Aesthetics. New York: Palgrave Macmillan, 2008, Xix+269 Pp., $95.00 Cloth, $38.00 Paper.William Seeley - 2010 - Journal of Aesthetics and Art Criticism 68 (2):188-191.
  21.  5
    Ecological Optics, Artworks, and Embodied Cognition.William Seeley - 2016 - In Laura Woodward (ed.), Resonate. Melbourne VIC 3004, Australia: pp. 29-52.
  22.  25
    Philosophy and Conceptual Art Edited by Goldie, Peter, and Elisabeth Schellekens. [REVIEW]William P. Seeley - 2008 - Journal of Aesthetics and Art Criticism 66 (2):203–205.
  23. Art, Aesthetics, and Cognitive Neuroscience.William Seeley - 2006 - In H. Gottesdiener and J. C. Vilatte (ed.), Culture and Communication: Proceedings of the International Association of Empirical Aesthetics, Volume XIX. pp. 781-784.
     
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  24. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
     
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  25. Categories of Art and Computers: A Question of Artistic Style.William Seeley - 2017 - American Society for Aesthetics Newsletter 37 (3):9-11.
    Recent interdisciplinary research in visual stylometry employs digital image analysis algorithms to study the image features and statistics that underwrite our experience of artworks. This research brings psychologists, computer scientists, and art historians together to explore the formal image qualities that define artistic style. We introduce the field of visual stylometry, discuss it's implications for our understanding of both the nature of categories of art and the role artistic style plays in our engagement with artworks. We then discuss the results (...)
     
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  26. Cognitive Science and Art.William Seeley - 2009 - In Blackwell Companion to Aesthetics. Malden, MA, USA: pp. 191-194.
     
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  27. Empirical Aesthetics.William Seeley - 2014 - In Michael Kelley (ed.), The Encyclopedia of Aesthetics. New York, NY, USA:
     
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  28. Effects of Interpretation of Energetic and Emotional Costs of Depicted Actions in Picture Perception.William Seeley - 2008 - In K. S. Bordens (ed.), Proceedings of the International Association of Empirical Aesthetics, Volume XIX. pp. 723-726.
     
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  29. Is Olfaction Really an Outlier? A Review of Anatomical and Functional Evidence for a Thalamic Relay and Top-Down Processing in Olfactory Perception.William Seeley & Julie Self - manuscript
    The olfactory system was traditionally thought to lack a thalamic relay to mediate top-down influences from memory and attention in other perceptual modalities. Olfactory perception was therefore often described as an outlier among perceptual modalities. It was argued as a result that olfaction was a canonical example of a direct perception. In this paper we review functional and anatomical evidence which demonstrates that olfaction depends on both direct pathway connecting anterior piriform cortex to orbitofrontal cortex and an indirect thalamic circuit (...)
     
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  30. Motor Simulation & the Effects of Energetic & Emotional Costs of Depicted Actions in Picture Perception.William Seeley - 2008 - Journal of Vision 8 (6):1041a.
    Psychological studies (Proffitt, 2006) have demonstrated that what one sees is influenced by one's goals, physiological state, and emotions. These studies demonstrate that there is a positive correlation between the physical demands (energetic cost) and perceived valence (emotional cost) of a task and the appearance of slant and egocentric distance in the environment. The studies are compelling. However, one can question whether their results are due to changes in the way participants perceived the orientation and extent of their environment or (...)
     
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  31. Neuroscience and Appreciation, Very Funny Indeed.William Seeley - 2015 - Aesthetics for Birds.
     
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  32. Neuroscience and Literature.William Seeley - 2016 - In John Gibson and Noel Carroll (ed.), The Routledge Companion to Philosophy of Literature. New York, NY, USA: pp. 267-278.
    The growing general interest in understanding how neuroscience can contribute to explanations of our understanding and appreciation of art has been slow to find its way to philosophy of literature. Of course this is not to say that neuroscience has not had any influence on current theories about our engagement, understanding, and appreciation of literary works. Colin Martindale developed a scientific approach to literature in his book The Clockwork Muse (1990). His prototype-preference theory drew heavily on early artificial neural network (...)
     
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  33. Some Ecological Thoughts About Artworks and Perception.William Seeley - forthcoming - In Shyam Wuppulri & Dali Wu (eds.), The Armchair and the Paintbrush. Basingstoke, UK:
    Artworks are attentional engines. They are artifacts intentionally designed to direct attention to what we might call their artistically salient features. The artistically salient features of a work are those aspects of their formal-compositional structure that carry information about what they express, their point, purpose, or meaning. These aspects of a work reflect the range of compositional strategies and choices an artist has employed to produce their work. Critically, artists deploy exogenous and endogenous perceptual strategies tailored to direct attention and (...)
     
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  34. Seeking Salience in Engaging Art.William Seeley - 2018 - In The Arts and the Brain: Psychology and Physiology Beyond Pleasure. London: pp. 437-453.
    It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects and (...)
     
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  35. Seeking Salience in Engaging Artworks: A Short Story About Attention, Artistic Value, and Neuroscience (2018). The Arts and the Brain: Psychology and Physiology Beyond Pleasure, Progress in Brain Research 257: 437-453.William Seeley - 2018
    It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects and (...)
     
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  36. The Link Between Empirical and Philosophical Aesthetics.William Seeley - forthcoming - In The Oxford Handbook of Empirical Aesthetics. New York, NY, USA:
     
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  37. The Neuroscience of Aesthetic Experience: 3 Case Studies.William Seeley - 2006 - Dissertation,
  38. The Philosophy of Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music, and Visual Arts.Noel Carroll, Margaret Moore & William Seeley - 2012 - In Arthur P. Shimamura & Stephen E. Palmer (eds.), Aesthetic Science: Connecting Minds, Brains, and Experience. New York, NY, USA: pp. 31-62.
  39. The Science of Art Is as Relevant to the Philosophy of Art as Artistic Representations Are to Science: A Reply to Roger Seamon.William Seeley - 2011 - American Society for Aesthetics Newsletter 31 (3):4-5.
     
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