†††† †††††

Born: ††††††††††††† July 7, 1966

Education:†††††† CUNY-Graduate Center, Philosophy Program and Concentration in Cognitive Science.

††††††††††††††††††††††† M.A., 2001, M.Phil., 2001.

††††††††††††††††††††††† Ph.D., May 2006.

††††††††††††††††††††††† Dissertation: "The Neurophysiology of Aesthetic Experience: 3 Case Studies."

††††††††††††††††††††††† Columbia University, School of the Arts

††††††††††††††††††††††† M.F.A., Sculpture, 1992.

††††††††††††††††††††††† Columbia University

††††††††††††††††††††††† B.A., Philosophy, 1988.

Awards: ††††††††† Louis C. Sudler Prize in the Arts, Columbia University,1988.

Exhibitions:†††† The Collaborative Drawing Project (Dancing, Drawing, and Embodiment). Arts Crawl: Chase Hall Gallery, Bates College, Lewiston, Maine, January 2013.

††††††††††††††††††††††† Rules and Chance Procedures (Art After the Antinomy of Taste), Chase Hall, Bates College, October 2012.

††††††††††††††††††††††† The Collaborative Drawing Project (Footsteps in the Snow after Sol LeWitt). Arts Crawl: Alumni Walk & Chase Hall Gallery, Bates College, Lewiston, Maine, January 2012.

††††††††††††††††††††††† Automatic Dancing-1112131411 (a collaboration with Rachel Boggia and the Bates College Dance Ensemble). Things that Travel, Schaeffer Theater, Bates College, November 12-14, 2011.

††††††††††††††††††††††† Constrained Views, Natural Vistas, and the Constructed Landscape: Revealing a Science-Based Approach to the Aestheticsof Nature (after Nancy Holt). Bates College, Lewiston, Maine, May 26-27, 2011.

††††††††††††††††††††††† Art and Empiricism: Exploring the Conceptual Challenge to Modernism. Olin Lobby, Bates College, Lewiston, Maine, November, 2010.

††††††††††††††††††††††† The Collaborative Drawing Project (after Sol LeWitt). Bates Museum, Lewiston, Maine, November, 2008.

††††††††††††††††††††††† The Collaborative Drawing Project (Movements & Marks). Phillips Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania, March 2008.

††††††††††††††††††††††† Location Drawings (After Sol LeWitt), The Collaborative Drawing Project. Phillips Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania, , November 2007.

††††††††††††††††††††††† Robotic Emergent Systems - Arts. SOFA Gallery, Indiana University, Bloomington, Indiana, June 2006 (group show).

††††††††††††††††††††††† The Suntrap and Other Abstract Forms in Motion (Solo Exhibition). Phillips Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania, March 2006, (solo exhibition).

††††††††††††††††††††††† Untitled (leaning with Bricks). Turner Gallery, Centenary College, Shreveport, Louisiana, November 2005, (solo exhibition).

††††††††††††††††††††††† Studio Facchetti, Brooklyn (Williamsburg), New York, January 2003, (group show).

††††††††††††††††††††††† Gestural Vectors. Studio Facchetti, Brooklyn (Williamsburg), New York, May 2002, (solo exhibition).

††††††††††††††††††††††† Summer Exhibition. The Roger Smith Gallery, New York, 1994, (group show).

††††††††††††††††††††††† The Roger Smith Gallery, New York, February 1994, (group show).

††††††††††††††††††††††† The Next Generation. The Addison Gallery of American Art, Andover, Massachusetts, Spring 1993, (group show).

††††††††††††††††††††††† Outdoor Works. Ezra Styles College, Yale University, New Haven, Connecticut, April 1992, (solo exhibition).

††††††††††††††††††††††† Ira Wallach Gallery, Columbia University, New York, May 1990, (group show).

††††††††††††††††††††††† Annual Exhibition, Proceedings and Addresses of the Annual Meeting of the College Arts Association. Hunter College, New York, December 1990.

††††††††††††††††††††††† Annual Student Show. National Arts Club, New York, December 1989.

Publications:††† Aesthetics

Art, Meaning, and Aesthetics: The Case for a Cognitive Neuroscience of Art. In eds. Marcos Nadal, Joseph P. Huston, Luigi Agnati, Francisco Mora and Camilo Josť Cela-Conde Art, Aesthetics, and the Brain. New York: Oxford University Press (forthcoming).

Empirical Aesthetics. In eds. Michael Kelly, The Encyclopedia of Aesthetics. New York: Oxford University Press(forthcoming).

Neuroaesthetics and Literature. To appear in eds. John Gibson and NoŽl Carroll, The Routledge Companion to the Philosophy of Literature. New York: Routledge (forthcoming).

Philosophy of Art and Empirical Aesthetics: Resistance and Rapprochement (2013). In eds. Pablo Tino and Jeffrey K. Smith, Cambridge Handbook of the Psychology of Aesthetics and the Arts. New York: Cambridge University Press, 35-59.

Cognitive Theory and the Individual Film: The Case of Rear Window (with NoŽl Carroll) (2014). In eds. Ted Nannicelli Paul Alexander Taberham, Cognitive Media Theory. New York: Routledge, 235-252.

Art, Meaning, and Perception: A Question of Methods for a Cognitive Neuroscience of Art (2013). British Journal of Aesthetics, 53(4): 443-460. doi: 10.1093/aesthj/ayt022

Movement, Gesture, and Meaning: A Sensorimotor Model for Audience Engagement with Dance (2013). In ed. Helena de Preester, Moving Imagination: Explorations of Gesture and Inner Movement, Philadelphia: John Benjamins Publishing Company, 51-68.

Kinesthetic Understanding and Appreciation in Dance (with NoŽl Carroll, Program in Philosophy, CUNY-The Graduate Center) (2013). In eds. Julie van Camp and Renee Conroy, Symposium: Dance, Art, and Science, Journal of Aesthetics and Art Criticism, 71(2): 177-186.

Cognitivism, Psychology and Neuroscience: Movies as Attentional Engines (with NoŽl Carroll, Program in Philosophy, CUNY-The Graduate Center) (2013). In ed. Arthur Shimamura, Psychocinematics: Exploring Cognition at the Movies. New York: Oxford University Press, 53-75 .

Hearing How Smooth It Looks: Selective Attention and Cross-Modal Perception in the Arts. Essays in Philosophy: Aesthetics and the Senses (ed. Cynthia Freeland), 13(2), July 2012: 498-517.

The Philosophy of Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music, and Visual Arts (with NoŽl Carroll and Margaret Moore) (2011). In Arthur P. Shimamura and Stephen E. Palmer (Eds.), Aesthetic Science: Connecting Minds, Brains, and Experience. New York: Oxford University Press.

The Science of Art Is as Relevant to the Philosophy of Art as Artistic Representations Are to Science: A Reply to Roger Seamon. American Society of Aesthetics Newsletter, 31(3), Winter 2011: 6-7.

††††††††††††††††††††††† What is the Cognitive Neuroscience of ArtÖand Why Should We Care? (2011). The American Society for Aesthetics Newsletter, 31(2), Summer: 1-4.

††††††††††††††††††††††† Imagining Crawling Home: A Case Study in Cognitive Science and Aesthetics (2010). Review of Philosophy and Psychology: Psychology and Experimental Philosophy 1(3), 407-426.

††††††††††††††††††††††† Cognitive Science and Art (2009). In Stephen Davies, Kathleen Higgins, Robert Hopkins, Robert Stecker, & David E. Cooper (Eds.), Blackwell Companion to Aesthetics, 2nd Edition (Malden, MA: Blackwell), 191-194.

††††††††††††††††††††††† Art, Artists, and Perception: A Model for Premotor Contributions to Visual Analysis and Form Recognition (with Aaron Kozbelt) (2008). Philosophical Psychology 21(2), 1-23.

††††††††††††††††††††††† Naturalizing Aesthetics: Art and the Cognitive Neuroscience of Vision (2006). Journal of Visual Arts Practice 5(3), 195-213.

††††††††††††††††††††††† Imagining Film: Seeing with the Mind's Eye (2005). Philosophical Inquiry, Volume XVII, Summer-Fall, 3-14.

††††††††††††††††††††††† Psychology

††††††††††††††††††††††† Effects of Interpretation of Energetic and Emotional Costs of Depicted Actions in Picture PerceptionĒ (2008). In Ed. K. S. Bordens, Proceedings of the International Association of Empirical Aesthetics, Volume XX, 723-726.

††††††††††††††††††††††† Motor Simulation & the Effects of Energetic & Emotional Costs of Depicted Actions in Picture Perception [Abstract] (with Jessica Waughtel) (2008). Journal of Vision, 8(6):1041, 1041a.

††††††††††††††††††††††† Integrating Art Historical, Psychological, and Neuroscientific Explanations of Artists Advantages in Drawing and Perception (with Aaron Kozbelt) (2007). Psychology of Aesthetics, Creativity, and the Arts, 1(2), 80-90.

††††††††††††††††††††††† Art, Aesthetics, and Cognitive Neuroscience (2006). In H. Gottesdiener & J. C. Vilatte (Eds.), Culture and Communication: Proceedings of the International Association of Empirical Aesthetics, Volume XIX, 781-784.

††††††††††††††††††††††† A Visuomotor Skill Model for Artists' Advantages in Drawing, Visual Analysis, and Form Recognition (with Aaron Kozbelt) (2004). In J. P. Frois, P. Andrade, & J. F. Marques (Eds.), Art and Science: Proceedings of the International Association of Empirical Aesthetics, Volume XVIII, 645-648.

††††††††††††††††††††††† Book Reviews

††††††††††††††††††††††† Book Review: New Waves in Aesthetics, Kathleen Stock & Katherine Thomas-Jones (Eds.) (2009). Journal of Aesthetics & Art Criticism 68(2): 188Ė191

††††††††††††††††††††††† Book Review: Philosophy & Conceptual Art, edited Peter Goldie & Elisabeth Schellekens (2008). Journal of Aesthetics & Art Criticism 66(2), 203-205.

††††††††††††††††††††††† Book Review: The Creation of Art, edited Berys Gaut and Paisley Livingston (2005). Philosophical Inquiry, Volume XXVII, Summer-Fall, 126-129.

††††††††††††††††††††††† Book Review: AngloModern: Painting and Modernity in Britain and the United States, Janet Wolff (September, 2004). Leonardo Reviews, www.LDR.org

††††††††††††††††††††††† Book Review: Neurons and Networks, John Dowling, New in Brain and Behavioral Science 2(78), November 23, 2002, http://mentalhelp.net/books/books.php?type=de&id=1407

††††††††††††††††††††††† In Preparation

Seeking Salience / Engaging Art: Philosophy, Neuroscience and the Arts (book proposal)

Concepts, Categories, and Categories of Art: Memory, Attention, and Perception in the Arts (book proposal).

Philosophy of Art & Empirical Aesthetics: Bridging the Great Divide (book proposal)

Mammals and Music among Others: Crossmodal Perception and Musical Expressiveness (under review).

Attention and Cognitive Control in Affective Perception for Embodied Appraisals.

Sparse, Narcissitic, and Under Attentional Control: A Short Story about the Unity of Consciousness Debate.

Seeing Sculpture: Dynamics and Deictic Codes.

Looking after Mona Lisa: μξΦα, Enigmatic Expressions, and Electromyography.

Capoeira & Clint Eastwood: Two Case Studies for the Methodological Utility of Art in Cognitive Neuroscience.

Whose Effectors, Your or Mine? Identification, Interpretation and Motor Simulation in Narrative Fiction.

 

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