William Hirstein

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’

Cognitive Science is a major new guide to the central theories and problems in the study of the mind and brain. The authors clearly explain how and why cognitive science aims to understand the brain as a computational system that manipulates representations. They identify the roots of cognitive science in Descartes - who argued that all knowledge of the external world is filtered through some sort of representation - and examine the present-day role of Artificial Intelligence, computing, psychology, linguistics and neuroscience. Throughout, the key building blocks of cognitive science are clearly illustrated: perception, memory, attention, emotion, language, control of movement, learning, understanding and other important mental phenomena. Cognitive Science: presents a clear, collaborative introduction to the subject is the first textbook to bring together all the different strands of this new science in a unified approach includes illustrations and exercises to aid the student

[This download contains the table of contents and Chapter 1]. I argue here that the claim that conscious states are private, in the sense that only one person can ever experience them directly, is false. There actually is a way to connect the brains of two people that would allow one to have direct experience of the other's conscious, e.g., perceptual states. This would allow, for instance, one person to see that the other had deviant color perception (which was masked by correct linguistic practice). This could be achieved by connecting one person's set of executive processes (or cognitive control network) to the conscious perceptual states of the other. Chapter 5 contains an internalist physicalist account of color according to which colors exist only as brain states. Their function is to enable more precise causal interactions between the executive processes and the brain's perceptual systems. This in turn allows for more precise action: I can select the red apples and leave the green ones.

Several recent lines of inquiry have pointed to the amygdala as a potential lesion site in autism. Because one function of the amygdala may be to produce autonomic arousal at the sight of a significant face, we compared the responses of autistic children to their mothers’ face and to a plain paper cup. Unlike normals, the autistic children as a whole did not show a larger response to the person than to the cup. We also monitored sympathetic activity in autistic children as they engaged in a wide range of everyday behaviours. The children tended to use self-stimulation activities in order to calm hyper-responsive activity of the sympathetic (`fight or flight’) branch of the autonomic nervous system. A small percentage of our autistic subjects had hyporesponsive sympathetic activity, with essentially no electrodermal responses except to self-injurious behaviour. We sketch a hypothesis about autism according to which autistic children use overt behaviour in order to control a malfunctioning autonomic nervous system and suggest that they have learned to avoid using certain processing areas in the temporal lobes.

Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or feel pain as if it were an itch; second, qualia do not always produce the same behaviour: given a set of qualia, we can choose from a potentially infinite set of possible behaviours to execute; and third, qualia endure in short-term memory, as opposed to non-conscious brain states involved in the on-line guidance of behaviour in real time. We suggest that qualia have evolved these and other attributes because of their role in facilitating non-automatic, decision-based action. We also suggest that the apparent epistemic barrier to knowing what qualia another person is experiencing can be overcome by using a ‘bridge’ of neurons; and we offer a hypothesis about the relation between qualia and one's sense of self.

[This is a response to a target article in BBS]. Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that artworks express

Recent evidence points to widespread underconnectivity in autistic brains owing to deviant white matter, the fibers that make long connections between areas of the cortex. Subjects with autism show measurably fewer long-range connections between the parietal and prefrontal cortices. These findings may help shed light on the current debate in the consciousness literature about whether conscious states require both prefrontal and parietal/temporal components. If it can be shown that people with autism have conscious states despite such underconnectivity, this would constitute an argument for the claim that conscious states can exist in posterior cortex without associated prefrontal activity. This in turn lends support to a class of theories according to which microconsciousness is possible—consciousness in small areas of cortex without active connections to the prefrontal cortex, as opposed to the higher-order thought (HOT) theory of consciousness, according to which conscious states can only occur when posterior cortical areas (in the parietal or temporal lobes) have active connections to the prefrontal cortex. In this chapter, after listing several candidate examples of consciousness without accompanying prefrontal connections, I will argue that autism provides yet another such example. I will also examine a recent version of the higher-order theory that acknowledges these cases of consciousness without prefrontal activity and, instead depicts consciousness as requiring higher-order thoughts located in posterior cortex. In the final section, I will examine the consequences of these views for our understanding of the metaphysical nature of consciousness itself—the classic mind-body problem.

Cases in which people are self-deceived seem to require that the person hold two contradictory beliefs, something which appears to be impossible or implausible. A phenomenon seen in some brain-damaged patients known as confabulation (roughly, an ongoing tendency to make false utterances without intent to deceive) can shed light on the problem of self-deception. The conflict is not actually between two beliefs, but between two representations, a 'conceptual' one and an 'analog' one. In addition, confabulation yields valuable clues about the structure of normal human knowledge-gathering processes. [The hypothesis defended here is significantly altered and greatly expanded in my book Brain Fiction.]