Cognitive Ecology
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Table of contents
- Contentsv
- Contributorsxi
- Forewordxiii
- Prefacexv
- Part I: Mind and Culture1
- Chapter 1. The Environment of Minds: Toward a Noetic and Hedonic Ecology3
- I.The Historical Background: Behaviorism5
- II. Noetic Ecology: The Knower and Knowledge7
- III. Hedonic Ecology: Desires and Things Desired12
- IV. The Self20
- V. Conclusions22
- References23
- Chapter 2. Cultural Organization of Cognitive Functions29
- I. Introduction29
- II. Shared Mysteries of Culture and Cognition30
- III. Contemporary Attempts to Understand Culture within Mental Processes37
- IV. Pathways to Methodology44
- V. General Conclusions: Dynamic Interdependence of Culture and Cognition49
- References50
- Part II: The Arts59
- Chapter 3. Confluence and Divergence in Empirical Aesthetics, Philosophy, and Mainstream Psychology61
- I. Origins of Unity in Diversity and Disinterest62
- II. Contemporary Theory and Research65
- III. Aesthetics and Mainstream Psychology72
- IV. Conclusions80
- References81
- Chapter 4. Music Perception and Cognition87
- I. Introduction87
- II. Musical Pitch: Scales and Tuning91
- III. Musical Gestalts108
- IV. Melody as Pitch Pattern115
- V. Rhythm119
- VI. Musical Timbre and Orchestration127
- VII. Musical Communication135
- VIII. Coda140
- References141
- Chapter 5. The Perception of Pictures and Pictorial Art151
- I. Introduction151
- II. Representation and Communication about the World154
- III. Nonrepresentational Functions of Artistic Representations: Expressive, Aesthetic and Architectu177
- References192
- Chapter 6. The Perception of Motion Pictures205
- I. Introduction205
- II. The Moving Camera and the Representation of Space235
- III. Discontinuous Cuts and Their Contribution to Mental Structure and Visual Momentum249
- IV. Summary and Conclusions277
- References278
- Chapter 7. The Art of the Puzzler*293
- I. Wordplay and the Cognitive Psychologist293
- II. The Methods of Scientific Psychology294
- III. The Origins of Wordplay295
- IV. Written Language, Concealment, and Revelation295
- V. Word Puzzles and Perceptual Puzzles298
- VI. Intuition and Discovery300
- VII. Intimacy and the Development of Expertise301
- VIII. What the Puzzler Knows and Does302
- IX. On Being Sure There's Nothing There310
- X. Disguise and Decipherment311
- XI. Constraint and Creativity313
- XII. Concluding Remarks314
- References315
- Part III: Sensory Evaluation323
- Chapter 8. Flavor325
- I. Flavor Modalities325
- II. How Flavor Is Measured in Foods–Applied Sensory Evaluation331
- III. Sensory Experts345
- IV. Functional Properties of the Flavor Senses354
- V. Research Issues and Enduring Questions359
- VI. Interactions among Flavor Modalities367
- VII. Flavor Science, Cuisine, and Culture373
- References374
- Index381
Cognitive Ecology identifies the richness of input to our sensory evaluations, from our cultural heritage and philosophies of aesthetics to perceptual cognition and judgment. Integrating the arts, humanities, and sciences, Cognitive Ecology investigates the relationship of perception and cognition to wider issues of how science is conducted, and how the questions we ask about perception influence the answers we find. Part One discusses how issues of the human mind are inseparable from the culture from which the investigations arise, how mind and environment co-define experience and actions, and how culture otherwise influences cognitive function. Part Two outlines how philosophical themes of aesthetics have guided psychological research, and discuss the physical and aesthetic perception of music, film, and art. Part Three presents an overview of how the senses interact for sensory evaluation.