Art, Mind and Cognitive Science

Transcription

1 1 Art, Mind and Cognitive Science Basic Info Title Philosophy Special Topics: Art, Mind Cognitive Science Prefix and Number PHI 4930/ IDS4920 Section U02/ Uo2 Reference Number 17714/ Semester/Year Spring Location GC283 A Day/Time T/Th 3:00-3:50 Instructor Kenton Harris Instructor Office DM 343 B (University Park) Instructor Telephone (305) Number Instructor harrisk@fiu.edu Instructor Website Text(s) Nelson Goodman, Languages of Art Robert Solso, Cognition and the Visual Art Tests Papers Final Exam Assorted Handouts to be distributed in Class One In-class Exam Two Papers (8-10-page papers) Yes (Not cumulative) Important Dates: Exam 1 3/2/12 Paper 1 TBA Paper 2 TBA Final Exam As scheduled but the University Course Description: This course will examine the relationship between traditional issues raised by the philosophy of art (e.g. pictorial representation, fictive emotion, musical thinking) and the recent developments in philosophy of mind and cognitive science. While Aesthetics has largely been regarded as a branch of value theory, examining the concepts of beauty, ugliness, and aesthetic/artistic merit generally, recent developments in the fields of consciousness studies and cognitive science make it mutually profitable to re-associate research into the mental with this branch of philosophy. It will be seen that thoughtful reflection on the production and appreciation of art has much to reveal about human cognitive processes just as close examination of human cognitive processes has much to reveal about the nature of art. Far from surprising, this should seem entirely natural for a discipline initially conceived of as leading inquiry into experience. Purpose:

2 2 With the advent of Goodman s Languages of Art, unpacking the cognitive processes involved in the production and appreciation of art has occupied both the cognitive psychologist and the aesthetician. The results of this interdisciplinary cross-fertilization have been mutually enriching for philosophy of art, epistemology, philosophy of language, empirical psychology and even evolutionary biology. It is the aim of this course to examine these areas of overlap, the insights gained, what constraints science might impose on any further philosophical research into the nature of art production and appreciation, as well as the possible limitations of science to address traditional philosophical questions. How does this course advance/fit University Mission? Because this is a course in the philosophical and scientific consideration of art and mind, it necessarily requires that student become acquainted with history, the visual arts, literature, drama, music, dance, religion, mythology, politics, and ethics as well as several science disciplines including anthropology, biology/ neurobiology, psychology and cognitive science. Beyond that, the student will learn to sharpen his/her observational skills, analytic as well as synthetic thinking, writing abilities and communication skills. Further, given the unique interdisciplinary nature of the subject matter, the student will of necessity deepen his or her knowledge of and facility with philosophical, scientific and cultural theories. It is precisely this kind of breadth of knowledge and intellectual maturity, which is expected of a University graduate. Learning Outcomes: Students will identify major theories of mind, their drawbacks and their implications for art and aesthetic theory. Students will understand cognitive processing required for appreciating even realistic visual art, music and emotional literature and drama. It is the objective of this course to acquaint the student with contemporary theories or mind, cognition, perception and how these bear upon aesthetic theory (i.e. the production, interpretation and evaluation of art). This will serve to enrich the student's understanding not only of art, but more broadly the human mind at work in the world. Even more generally, it is the aim of this course to familiarize the student with the disciplines of philosophy and cognitive science, their present-day intersections and exchanges. Learning Methods: The course will be primarily Lecture in format. There will be several mandatory outside assignments requiring each student to experience some work of art first hand and later discuss it with the class (i.e. visit a gallery, attend a concert, see a film). The student will be tested on comprehension of lecture and text material with two in-class exams and a final exam. Also the student will be required to write at least one thesis paper involving some research and original thought. Writing Component: As this is a philosophy course, the students will be required to write critically on various theses presented in class or in the readings. This will involve research as well as original thought. Given the subject matter, the student will necessarily need to incorporate information from a wide range of related liberal arts and empirical science disciplines. Skills Component: As with any philosophy class there will be heavy emphasis clear articulation skills, the ability to reason and justify one's one assertions, to see the implications and ramifications of theoretical positions. Developing these skills will be a major focus of the course and, indeed, will be necessary for passing this course.

3 3 Learning Competencies: The student will need to hone his/her skills as both an analytic and synthetic reasoner as well as his/her observation and communications skills. This course will involve experiencing, thinking about, talking about and ultimately writing about art. Basic Policies Below are listed various procedural policies. By remaining a registered student in this course you indicate your acceptance of the policies listed in this syllabus. Attendance and make-up policies: 1. Class participation and in-class assignments are an integral part of a satisfactory grade. Poor attendance will result in a lower grade. 2. There will be no make-ups for missed work or tests. 3. A documented emergency will be dealt with on an individual basis. 4. The student will often be required to download information and assignments from my Website ( He or she should plan now how he or she will acquire regular web access. Drops: Students unable or unwilling to continue in the course should notify the instructor. It is their responsibility to fill out official withdrawal forms with the registrar's office. If they do not officially withdraw, they will receive an F for the course. Special Learning Needs: Students with documented special learning needs are asked to have Student Services inform the instructor so that accommodations can be made when necessary for testing, note taking or paper writing. Class Conduct: 1. All students must come to class, on time and prepared with his or her own books and materials. In the interest of fairness to all students who desire a classroom environment conducive to learning, no students will be allowed to share books. If students come to class without their own books, they must not infringe upon the rights of those who do come prepared. 2. Beepers and cellular phones must be turned off prior to class. Requirements and Grading: Requirements: Papers: There will be two assigned thesis papers. These papers are to be 6-10 pages in length, typed and double-spaced and turned in on the dates designated by the lesson plan. Each will take the form of a critical examination of a text selection to be given in class. The student must demonstrate not only an understanding of the article and issue, but a critical appraisal as well,

4 4 including anticipating responses to the critical comments raised by the student. Each paper will count as 20% of the student's final grade. In-class Examinations: There will be two in-class exams as designated by the lesson plan. Each exam will count as 20% of the final average. Final Examination: A final examination will be given during the final exam week as specified by the University calendar. The final exam will be drawn from class lectures and text material. The final exam will not be cumulative, but rather cover only material covered after the second exam. The final exam will count for 20% of the final grade. Research Assignment: Each student will be required to construct a research proposal in line with the subject matter of this course. Specifically, each student will articulate an aesthetic question (e.g. the objectivity of beauty, the reality of fictive emotions, the cognition of pictures, etc.) and devise a research experiment which, if properly executed, would yield evidence confirming or disconfirming one of the traditional resolutions to this problem. (Alternatively, the student may write a paper arguing the no amount of empirical research can settle the aesthetic question at issue.) This will be discussed in greater detail through-out the course. Grading: Grades will be based on the papers (40% total), in-class exams (40% total), Research Assignment (20% total) and the final exam (20% total). Note: The student may elect to drop any ONE of the 20% assignments For this reason, NO MAKE-UP assignments will be given. It follows that the student may elect to skip the final examination if he or she wishes to drop no other 20% assignment grade. Grading Scale: A = (100-94) A- = (93-92) B+ = (91-88) B = (87-84) B- = (83-81) C+ = (80-77) C = (76-74) C- = (73-70) D+ = (69-66) D = (65-63) D- = (62-60) F = (59-0) ATTENTION STUDENTS: NOTE both the grading scale and the exam and paper dates now. No exceptions will be made so you must decide NOW whether these terms are acceptable to you or not or whether they interfere will travel plans or personal commitments. It is your decision to remain in this course under the specified conditions and I encourage each of you to thoughtfully consider this before the drop/add deadline.

5 5 Lesson Plan Week # Approximate Date (Week Of...) Subject Matter Week 1 January 9, Frameworks A) What is Mind? Introduction to /review of Philosophy of Mind Readings Jerry A. Fodor, The Mind-Body Problem Jon Mills Five Dangers of Materialism Week 2 January 16, Frameworks B) What is Cognitive Science Introduction to /review of Cognitive Science Paul Tang A Review Essay, Recent Literature on Cognitive Science What is Cognitive Science Zenon W. Pylyshyn Week 3 January 23, Week 4 January 30, Week 5 February 06, Week 6 February 13, Week 7 February 20, Week 8 February 27, Frameworks C) What is Art Introduction to /review of Philosophy of Art and Aesthetics The Cognition of Depictions: Visual Arts & The Legacy of Nelson Goodman Visual Cognition: Bottom Up Approach Visual Cognition: Top Down Approach Narrative, Emotions and Cognition David Hume, Of the Standard of Taste Cynthia Freeland, Selections from But Is it Art? Nelson Goodman, The Languages of Art, Hackett Publishing Company, Indianapolis, 1976, Chapter One Catherine Elgin, Relocating Aesthetics, Goodman s Epistemic Turn Nelson Goodman When Is Art?, Ways of Worldmaking, Goodman, Nelson, Hackett Publishing Co., Semir Zeki, Inner Vision: An Exploration of Art and the Brain Robert Solso, Cognition and the Visual Art Startle/ L'Education Sentimentale The Paradox of Fiction:

6 6 (3/2/12 First Exam) Narrative Understanding and Understanding Narrative Sarah E. Worth (Contemporary Aesthetics) Week 9 March 05, The Cognition of Music: Musical Syntax and Musical Appreciation newvolume/pages/article.php?articl eid=237 Eduard Hanslick, from On The Beautiful in Music Lenard Meyer On Rehearing Music Narmour, E. The Top-Down and Bottom-Up Systems of Musical Implication: Building on Meyer s Theory of Emotional Syntax. Music Perception, 9 (1991): pp Week 10 March 12, Spring Break Week 11 March 19, The Cognition of Music: Concatenationism vs. Architectonic Appreciation Bigand, E (1993) Contributions of Music to Research on Human Auditory Cognition, lyon1.fr/unite/equipe- 02/tillmann/download/_Bigand_etal _inpress.pdf Levinson, London, Cox, Morrison, Maus, Repp Music in the Moment: A Discussion, Music Perception, Summer 1999, Vol. 16, No. 4, pp Week 12 March 26, Art, Imagination and Cognitive Evolution Cave Art, Autism, and the Evolution of the Human Mind Nicholas Humphrey s/1998caveart.pdf

7 7 Week 13 April 02, Dance and Cognition Week 14 April 09, Aesthetics Experience and Naturalism: V. S. Ramachandran and William Hirstein The Science of Art, Consciousness Studies, Vol. 6 No. 6-7 June/July 1999 Perceptual Principles as the Basis for Genuine Judgments of Beauty ntent/imp/jcs/2000/ /f /1039 Week 15 April 16, The Problem With Aesthetic Naturalism (Back to Value) Jerrold Levinson Hume s Standard of Taste: The Real Problem Journal of Aesthetics and Art Criticism,