William P. Seeley
Department of Philosophy
Education:
CUNY,
M.A., 2001, M.Phil., 2001.
Ph.D., May 2006.
Dissertation: The Neurophysiology of Aesthetic
Experience: 3 Case Studies.
Advisor: David M. Rosenthal.
Areas
of Specialty:
Aesthetics, Cognitive Science, Philosophy of
Mind, Sculpture.
Areas
of Competence:
Philosophy of Artificial Intelligence, Philosophy of Film, Philosophy of
Language, Metaphysics, Biomedical Ethics, Introductory Psychology Lab.
Awards and Honors:
Geoffrey Marshall Dissertation Fellowship for
Distinguished Research in the Humanities, CUNY, 2003 – 2004 (declined, accepted
position at
Honoable Mention. Annual Student Exhibition.
National Arts Club, New York City, 1989.
Louis C. Sudler Prize in the Arts,
Grants and Fellowships:
Bates College Faculty Development Fund Grant
(2011-2012) in support of Penn Neuroscience Bootcamp and related research and
curricular development ($4903).
Franklin & Marshall College Committee on
Grants Research Grant (Summer 2008) in support of Effects of Interpretation of
Energetic & Emotional Costs in Picture Perception ($1000).
Franklin & Marshall College Committee on
Grants Research Grant (2006-2008) in support of Artists and Non-Artists Eye Movements in Out-of-Focus Picture
Recognition ($1000).
Publications:
Philosophy:
Movement, Gesture, and Meaning: A
Sensiromotor Model for Audience Engagement with Dance. To appear in Helena de
Preester and Martine Huvenne (Eds.), Motor
Imagination: The Motor Dimension of Imagination in the Arts, Amsterdam:
John Benmjamins Publishing Company.
Philosophy of Art and Empirical Aesthetics:
Resistance and Rapprochement. To appear in Pablo Tino (Ed.), Cambridge Handbook of the Psychology of Aesthetics
and the Arts. New York: Cambridge University Press.
Art, Meaning and Aesthetics: The Case for a
Cognitive Neuroscience of Art. To appear in Marcos Nadal, Joseph P. Huston,
Luigi Agnati, Francisco Mora and Camilo José Cela-Conde (Eds.), Art, Aesthetics, and the Brain. New
York: Oxford University Press.
Cognitivism, Psychology, and Neuroscience:
Movies as Attentional Engines (with Noël Carroll, Program in Philosophy,
CUNY-The
Hearing How Smooth It Looks: Selective
Attention and Cross-Modal Perception in the Arts. To appear in Cynthia Freeland
(Ed.), Essays in Philosophy: Aesthetics
and the Senses, 13(2), 2012.
Neuroaesthetics and Literature. To appear in
eds. John Gibson and Noël Carroll, The
Routledge Companion to the Philosophy of Literature.
The Philosophy of
Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music,
and Visual Arts (with Noël Carroll and Margaret Moore) (2011). In Arthur P. Shimamura and Stephen E. Palmer (Eds.), Aesthetic Science: Connecting Minds,
Brains, and Experience.
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
Art…and Why Should We Care? (2011). The
American Society for Aesthetics Newsletter, 31(2), 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 (
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 Perception (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.) (2010). Journal of Aesthetics
& Art Criticism 68(2): 188–191.
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
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:
Art,
Meaning, and Perception: A Question of Methods for a Cognitive Neuroscience of Art (under
review).
Seeing Sculpture: Dynamics and Deictic Codes.
Looking after Mona Lisa: Philosophical
Methods, Enigmatic Expressions, and Electromyography.
The Great Cheesecake Conspiracy: Muktuk,
Pemmican, and Evolutionary Theories of Art.
On Being Direct: What Is It That Is
Perceived Directly in Direct Perception? (with Tony Chemero, Department of
Psychology,
Capoeira & Clint Eastwood: Two Case
Studies for the Methodological Utility of Art in Cognitive Neuroscience.
What's Driving the Bus: Embodied Appraisals,
Direct Perception, and Organismic control.
Whose Effectors, Your or Mine? Identification, Interpretation and Motor
Simulation in Narrative Fiction.
Selected Exhibitions:
Automatic Dancing-1112131411 (a collaboration with Rachel Boggia and the
Bates College Dance Ensemble). Schaeffer Theater, Bates College, November
12-14, 2011.
Bates College, Lewsiton, Maine, Constrained Views, Natural Vistas, and
the Constructed Landscape: Revealing a Science-Based Approach to the
Aesthetics of Nature (after Nacy Holt), with Adam Agins, May 26-27, 2011
Phillips Museum of Art, Franklin &
Marshall College, Lancaster, Pennsylvania, Movements & Marks, Collaborative
Installation Project, March 2008.
Turner Gallery,
Studio Facchetti, Brooklyn (
Studio Facchetti, Brooklyn (
The Roger Smith Gallery,
The Roger Smith Gallery,
The Addison Gallery of American Art,
Ira Wallach Gallery,
Proceedings and Addresses of the Annual
Meeting of the College Arts Association, Hunter College, New York, New York,
Annual Exhibition, December 1990.
National Arts Club,
Current Research &
Collaboration:
Movements, Marks, & Electronic Media: Drawing and Dance after Cage,
Cunningham and Lewitt (with Rachel Boggia, Visiting Professor of Dance, Bates
College and Matthieu Duvall, Manager, The Imaging Center, Bates College)
Motor Skill as a Mediating Variable in the Effects of Energetic Costs on
Apparent Egocentric Distance (with Todd Kahan, Department of Psychology,
Looking at Mona Lisa: A Psychophysiological
Study (with Travis A. Cantania & Tony Chemero, Department of Psychology,
Franklin & Marshall College).
The Influence of Art Historical Knowledge on
Gaze Strategies in Viewers' Engagement with Andrew Wyeth's Christina's World
(with Travis A. Cantania &
Tony Chemero, Department of Psychology, Franklin & Marshall College).
Does Surface Electromyography Reveal a Role for
Motor Simulation in Picture Perception?
Motor Skill, Batting Average, & Baseball
Players’ Eye Movements in Out of Focus Picture Recognition.
Piano Hands: Surface Electromyography
Reveals Effects of Motor Simulation in Passive Listening.
Presentations:
Sparse, Narcissistic, and Under Attentional
Control: Comments on Carolyn Dicey Jennings' 'The Standard Theory of Conscious
Perception,' American Philosophical
Association, Pacific Division Meeting, Seattle, April, 2012.
Movement, Gesture, and Meaning: A Sensiromotor Model for Interpretive
Responses to Dance, Inner Movement - The
Motor Dimension of Imagination, University College Ghent, Belgium December
2011.
μξΦα, ARMUI, or Towards an Old Fashioned Methodology
for a Cognitive Neuroscience of Art, Aesthetic
Anarchy III: This Time It’s Methodological, Indiana University,
Bloomington, IN, May 2011.
X-Ray Foxtrot Alpha Mike or a Question of Methodology for Experimental
Aesthetics: Comments on Richard Kamber’s, ‘Experimental Philosophy of Art, American Philosophical Association, Pacific
Division Meeting, San Diego, April 2011.
Using Lego
Mindstorms to Explore Animat Intelligence in the Classroom, Learning
in Commons: Creating Connections, Bates College, Lewiston, ME, May 2011.
The Collaborative Drawing Project: Hands-on
Interdisciplinary Collaboration across the Curriculum, The
Digital HumanitiesColloquium, Bates College, Lewsiton, ME, May 2011.
Gestures, Vectors, Cantilevers, and Other
Uncontrolled Activities (artist’s talk), Senior
Thesis Colloquium, Studio Art Department,
Dartmouth College, Hanover, NH, April 2011.
Seeing How Hard It Is: Selective Attention
and Cross-Modal Perception in the Arts, Symposium: Cross-Modal Perception in
the Arts, American Philosophical Association: Eastern Division Meeting, Boston,
Massachusetts, 2010.
Christina’s
World and the Mona Lisa: Two Case Studies in the
Cognitive Neuroscience of Art, The New England Institute for Cognitive Science
and Evolutionary Studies, University of New England, Biddeford, Maine, March,
2010.
Author Meets Critics: Dennis Dutton’s, The Art Instinct, American
Philosophical Association, Central Division Meeting, Chicago,
Illinois, February, 2010.
Narcissistic Systems and the Aboutness of Mental States, Northern New England Philosophical Association,
Annual Meeting, University of New Hampshire, Durham, New Hampshire,
October, 2009.
A Visuomotor Model for Energetic Costs Effects in Picture Perception, The Copenhagen Neuroaesthetics Conference,
University of Copenhagen, Copenhagen, Denmark, September, 2009.
Can Neuroaesthetics Earn Its Keep? American Society for Aesthetics, Annual
Meeting, Northampton, Massachusetts, November 2008.
Attention, Edges, and Fleeting Smiles, Northern New England Philosophical
Association, Annual Meeting, Colby College, October, 2008.
What You Know/How You See, Annual Symposium on the Curriculum: Visual
Studies, Franklin & Marshall College, August, 2008.
Motor Simulation and the Effects of
Energetic Costs of Depicted Actions in Picture Perception, American Psychological Association, Annual Convention, Boston,
Massachusetts, August 2008.
Effects of Interpretation of Energetic and
Emotional Costs of Depicted Actions in Picture Perception, XX Congress of the International Association of Empirical Aesthetics,
Chicago, Illinois, August 2008.
Does Surface Electromyography Reveal a Role
for Motor Simulation in Picture Perception? Association
for Psychological Science, Annual Convention, Chicago, Illinois, May 2008.
Not the Nightly News in Iambic Pentameter: Comments on Anna Christina
Rebio’s ‘Aesthetic Attributions: The Case for Poetry, American Society for Aesthetics, Annual Meeting, Los Angeles,
California, November 2007.
Imagining Crawling Home: A Case Study in
Cognitive Science and Aesthetics, Aesthetic
Psychology, University of Durham, Durham, UK, September 2007.
Letting the Blind Lead the Blind: Teaching
Art with Mathematics and Mathematics with Art, Viewpoints 2007: Mathematics & Art, Franklin & Marshall
College, Lancaster, Pennsylvania, June 2007.
Effects of Interpretation of Energetic and
Emotional Costs in Picture Perception, Association
for Psychological Science, Annual Convention, Washington, D.C., May 2007.
Can Neuroaesthetics Earn It’s Keep? American Philosophical Association, Central
Division Meeting, Chicago, Illinois, April 2007.
Can Neuroaesthetics Earn It’s Keep? American Society for Aesthetics, Eastern
Division Meeting, Philadelphia, Pennsylvania, April 2007.
How to Learn to See the World as an Artwork,
American Society for Aesthetics, Pacific
Division Meeting, Pacific Grove, California, March 2007.
Art, Aesthetics, and Cognitive Neuroscience,
XIX Congress of the International
Association of Empirical Aesthetics, Avignon, France, September 2006.
Static Objects, Gestural Dynamics, and the
Perception of Kinetic Art, Symposium:
RES-Arts Exhibition, ALifeX,
Indiana University, Bloomington, Indiana, June 2006.
How Free Can Harmony Be?: Comments on
Kenneth Rogerson's 'Kant, Free Harmony, and Aesthetic Ideas, American Philosophical Association, Central
Division Meeting, Chicago, Illinois, April 2006.
Characters, Worlds, and Authors: Comments on
Ira Newman's, ‘Virtual People: Fictional Characters through the Frames of
Reality, American Society for Aesthetics,
Eastern Division Meeting, Philadelphia, Pennsylvania, April 2006.
Sympathy and Utility in Moral and Aesthetic
Assessments: Comments on Eva Dadlez' ‘Jane Austen on Aesthetics: Kantian and
Humean Perspectives, American Society for
Aesthetics, Eastern Division Meeting, Philadelphia, Pennsylvania, April
2006.
Modernism, Meaning, and Perception: Eye
Candy and the Educated Mind, Phillips
Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania,
February 2006.
Metal, Mobiles, and Mind: Art and the
Perception of Dynamic Form, Phillips
Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania,
February 2006.
Art, Perception, and Attention? Philosophy and Cognitive Science Colloquium,
William Patterson University, Patterson, New Jersey, December 2005.
A Field Guide to Cognitive Science and
Aesthetics, Humanities Convocation,
Centenary College of Louisiana, Shreveport, Louisiana, November 2005.
Art, Artists, and Perception: A Model for
Premotor Contributions to Visual Analysis and Form Recognition, Natural Sciences Colloquium, Centenary
College of Louisiana, Shreveport, Louisiana, November 2005.
Art, Aesthetics, and Cognitive Neuroscience,
Department of Cognitive Science Colloquia,
Yale University, New Haven, Connecticut, October 2005.
As We Can Safely Imagine: Comment on Ismay
Barwell’s 'Resisting Again, Annual
Meeting of the American Society for Aesthetics, Providence, Rhode Island,
October 2005.
The Philosophical and Ethical Dimensions of
Addiction, Biology, Behavior and Choice:
2005 Benjamin Rush Symposium, Franklin & Marshall College, Lancaster,
Pennsylvania, October 2005.
Get Your Motor Running: A Demonstration of
Contributions from Premotor Areas to Visual Perception (with Mike Anderson),
Cognition and Neural Representation Group Project Presentation, McDonnell Project Early Career Researchers
Workshop, California Institute of Technology, Pasadena, California, June
2005.
Naturalizing Aesthetics: Art and the
Cognitive Neuroscience of Vision (poster), Neurophilosophy:The
State of the Art, California Institute of Technology, Pasadena, California,
June 2005.
What Is Art? A Panel Discussion, with Emily
Brady (Department of Philosophy) and Saam Trivedi (Department of Philosophy), Faculty Day, Brooklyn College, New York,
May 2005.
What Is Aesthetics and Cognitive Science? Department of Philosophy Faculty Colloquia,
Brooklyn College, Brooklyn, New York, April 2005.
Can Cognitive Science Tell Us Anything about
Art?: Philosophy Lunchtime Colloquia,
Yale University, New Haven, Connecticut, April 2005.
Are There Constraints on Interpretation?:
Comments on Mark Silcox and Jon Cogburn’s ‘Does the Reader Make the Text?: Some
Thoughts on Literary Competence, Colloquium:
Philosophy of Literature, American Philosophical Association, Pacific Division
Meeting, San Francisco, California, March 2005.
Who's Afraid of Interpretation: Art,
Meaning, & Perception, Language and
Cognition Lab, Department of Psychology, Yale University, New Haven,
Connecticut, March 2005.
What Cognitive Science Has to Say About Art:
Aesthetics and the Constructivist Hypothesis, Annual Meeting of the American Association of Aesthetics, Houston,
Texas, October 2004.
Is Interpretation a Problem for Theories of
Aesthetics?: Some Notes from the Cognitive Neuroscience of Vision, CUNY Graduate Center Cognitive Science
Symposium, New York, New York, October 2004.
A Visuomotor Skill Model for Artists'
Advantages in Drawing, Visual Analysis, and Form Recognition, XVIII Congress of the International
Association of Empirical Aesthetics, Lisbon, Portugal, September 2004.
Naturalizing Aesthetics: Art and the Cognitive
Neuroscience of Vision, (Re)Discovering
Aesthetics, University College Cork, Cork, Ireland, July 2004.
Art and the Cognitive Neuroscience of Vision
(poster), American Psychological Society,
Annual Convention, Chicago, Illinois, May 2004.
Imagining Film: Seeing with the Mind's Eye, Symposium on the Construction of Visual
Narrative in Hitchcock's Rear Window, Brooklyn College, Brooklyn, New York,
May 2004.
Mental Imagery and the Possible Neurological
Underpinnings of Aesthetic Disinterestedness, Towards a Science of Consciousness 2004, Tucson, Arizona, April
2004.
Naturalizing Aesthetics: Art and the
Cognitive Neuroscience of Vision, American
Philosophical Association, Pacific Division Meeting, Pasadena, California,
March 2004.
Naturalizing Aesthetics: The Neurophysiology
of Aesthetic Experience, Third
International Conference on Neuroesthetics, Berkeley Museum of Art, University of
California, Berkeley, California, January 2004, sponsored by The Minerva Foundation, Berkeley, and The Institute of Neuroesthetics,
University College, London.
Paying Attention: Constructing Perception in
Film and the Visual Arts: A Panel Discussion on Film, Narrative, and Vision,
with Aaron Kozbelt (Department of Psychology), Ellen Tremper (Department of
English), and Linley Hanlon (Department of Film), Brooklyn College Cognitive Science Colloquia, Brooklyn College,
Brooklyn, New York, December 2003.
What Cognitive Science Has to Say About Art:
Aesthetics and the Constructivist Hypothesis, The Yale College Cognitive Science Society, Yale University, New
Haven, Connecticut, November 2003.
Naturalizing Aesthetic Experience:
Aesthetics and the Cognitive Neuroscience of Vision, Hofstra Psychology Research Seminar: A Forum For the Discussion of
Research on Minds, Brains, and Behavior, Sponsored by the Departments of
Psychology and Philosophy, Hofstra University, Hempstead, New York, September
2003.
Naturalizing Aesthetics: The Neurophysiology
of Aesthetic Experience, Towards a
Science of Consciousness 2003: Between Phenomenology and Neuroscience,
Prague, Czech Republic, July 2003.
Art and Visual Agnosia, Guest Lecture, Senior Seminar in Neuropsychology,
Hofstra University, Hempstead, New York, May 2003.
Aesthetic Perception and the Veridicality of
Mental Representation, CUNY Graduate
Center Cognitive Science Symposium, New York, New York, March 2003.
Philosophy and the Cognitive Science of
Aesthetics: A Panel Discussion, with Aaron Kozbelt (Department of Psychology), The Philosophy Society of Brooklyn College,
Brooklyn College, Brooklyn, New York, November 2002.
Some Principles of Kinetic Sculpture: An
Overview of the Art of Dynamics and Motion, Franklin W. Olin College of
Engineering, Needham, Massachusetts, October 2002.
In Search of the Brain's Mind's Eye: Can
Evidence from Cognitive Neuroscience Tip the Scales in the Mental Imagery
Debate? CUNY Graduate Center Cognitive
Science Symposium, New York, New York, March 2002.
The Neurophysiology of Aesthetic Experience,
CUNY Graduate Center Cognitive Science
Symposium, New York, New York, August 2001.
Neurophysiology and the Structural Elements
of Visual Perception: Monet’s Brain and Calder’s Mobiles, The Annual Celebration of Science, Engineering, and Mathematics at the
CUNY Graduate Center, New York, New York, March 2001.
Levels and Scientific Explanation, First Annual Michigan State University
Graduate Student Philosophy Conference, Michigan State University, East
Lansing, Michigan, October 1999.
Realism, Projectability, and Mental
Properties, First Annual Rocky Mountain
Philosophy Conference, University of Colorado at Boulder, Boulder,
Colorado, March 1999.
Professional Activity:
External Evaluator (guest critic), Senior Thesis Seminar, Studio Art
Depratment, Dartmouth College, Hanover, NH, April 2011.
Referee, Journal
of Aesthetics and Art Criticism, 2007, 2009, 2011.
Referee, Journal
of Consciousness Studies, 2011.
Program Co-Chair, American Society for Aesthetics, Eastern Division Meeting,
Manuscript Reviewer, Oxford University Press, 2010.
Manuscript Reviewer, MIT Press, 2009.
Referee, Society
for Philosophy And Psychology, Annual Meeting, 2009.
Syllabi for Aesthetics and Cognitive Science
& Art, Meaning, & Perception listed as resources for teaching cognitive
science and the arts, American Society for Aesthetics, Aesthetics-Online.Org, http://www.aestheticsonline.org/teaching/index.html.
Leonardo Digital Reviews Panel, Leonardo: Journal of the International
Society for Arts, Science, and Technology, 2003-present.
Chair, Colloquium: In Defense of Extended,
Embodied Cognition: Some Lessons from Cognitive Neuroscience, American Philosophical Association, Pacific
Division Meeting,
Chair, Panel on Cognitive Science and the
Arts: Neuroscience, Music and the Visual Arts, American Society for Aesthetics, Eastern Division Meeting,
Chair, Author
Meets Critics: Noël Carroll’s Philosophy of Motion Pictures, American
Society for Aesthetics, Eastern Division Meeting,
Referee, Leonardo:
Journal of the International Society for Arts, Science, and Technology,
2003-2009.
Participant, Viewpoints 2007: Mathematics and Art Workshop,
Chair,
Author-Meets-Critics: Peter Carruthers, The
Architecture of the Mind: Massive Modularity and the Flexibility of Thought,
American Philosophical Association,
Pacific Division Meeting,
Chair, Symposium: Picture Perception, American Society for Aesthetics, Annual
Meeting,
Chair, Infectious Music: Music Listener
Emotional Contagion, Stephen Davies, Empathy:
An International Interdisciplinary Conference,
Chair, Colloquium: Extended Memories and the
Functional Role Objection, American
Philosophical Association, Pacific Division Meeting,
McDonnell
Project Early Career Researchers Workshop, California Institute of Technology,
Chair, Panel Session: The End of Art and the
End of Aesthetics? (Re)Discovering
Aesthetics, University College
Referee, Society
for Student Philosophers, 2004-2006.
University Service:
Presenter for Learning in Commons:
Creating Connections, Bates College, Lewiston, ME, May 2011.
Mellon
Innovation Grant: Working Group in Philosophy & Psychology, Bates College, Fall 2010.
Assessment
of First Year Writing: First Year Seminar Faculty Workshop, Bates College, 2009-2010.
Mellon
Innovation Grant: Working Group in Philosophy & Psychology, Bates College, 2009-2010.
Mellon
Innovation Grant: Working Group in Philosophy & Psychology, Bates College, 2008-2009.
Moderator, Symposium on the Curriculum: Visual Studies,
Chair, Curriculum
Development Seminar: Visual Studies,
Juror, Phyllis
C. Whitesell Writing Prize for Foundations Seminars,
Search Committee, Women’s Varsity Field Hockey Coach Search,
Faculty Advisor, Franklin & Marshall Women’s Rugby Club, 2007-2008.
Academic Advisor, Beginnings 2007, New Student Orientation, May 2007.
Instructor, Liberal Education 2006: Federalist Papers 10, New Student
Orientation,
Facilitator, Sexual Assault Prevention Workshop, New Student Orientation,
Franklin &
Steering Committee,
Secretary, Department of Philosophy,
Arrangements and Calendar Committee,
Department of Philosophy, Brooklyn College, 2004-2005.
Faculty Teaching Observations, Department of
Philosophy, Brooklyn College, 2004-2005.
Arrangements and Calendar Committee,
Department of Philosophy, Brooklyn College, 2003-2004.
Presenter, Science of Learning Workshop for New Faculty,
Faculty Sponsor, Brooklyn College Muslim Women's Educational Initiative Book Drive for
American University, Kabul, Afghanistan, Brooklyn College, 2004 – 2005.
Organizing Committee, Humanities Division Outcomes Assessment Meeting,
Grade Grievance Committee, Department of
Philosophy,
Chair, Ad Hoc Collections Committee,
Department of Philosophy,
Adjunct Representative to the Department
Personnel Committee,
Teaching Experience:
Philosophy:
Bates College, 2010-2012 (Visiting Assistant Professor).
Yale University, 2010 (Lecturer in
College of the Holy Cross, 2010 (Lecturer)
Bates College, 2009-2010 (Lecturer).
Bates College, 2008-2009 (Visiting Assistant Professor)
Brooklyn
College of
Art:
Thesis Supervision:
David
Kelly, Department of
Philosophy,
Jason Brander, Department of Philosophy,
Benjamin Emmett, Special Studies: Film, Philosophy, and Art. Thesis Title:
Metasimulation: Emotions, Observers, & Creative Intent
Galen Goble, Special Studies: Aesthetics & Cognitive Science. Thesis Title:
Mindwalking: An Experiment in Perceptual Representation and Picture Perception.
Emily Halldorson, Biological Foundations of Behavior,
Erica Ofeldt, Biological Foundations of Behavior,
Sahil Patel, Biological Foundations of Behavior,
Elliot Platt, Scientific & Philosophical Studies of Mind,
Sarah Baron, Department of Cognitive Science,
Courses Taught:
Bates College
(2008-2011) Department of Philosophy:
Embodied
Cognition and the Philosophy of Artificial Life (PHIL321f, Winter 2012)
The
Possibility of Artificial Intelligence (PLPY 321e, Winter 2011)
Philosophical
Issues in Cognitive Science (Phil321g, Winter, 2012)
Colors &
Sounds (PHIL 321c, Fall 2008)
Philosophy of
Mind (PHIL 235, Fall 2011, Fall 2012)
Philosophy of
Psychology (PHIL 232, Winter 2011)
Philosophy of
Art (PHIL 227a/b, Fall 2008, Fall 2010, Fall 2012)
The Power of
Art (FYS 382, Fall 2009)
Philosophy of
Film (PHIL S24, Short Term 2011)
Biomedical
Ethics (PHIL 213, Winter 2012)
Metaphysics
(PHIL 245, Spring 2009)
Philosophy of
Language (PHIL 234, Spring 2009, Fall 2012)
Introduction
to Philosophy (PHIL 150a/b, Fall 2011)
Yale
Aesthetics & Cognitive Science (CSES221b, Spring 2010)
Aesthetics & Cognitive Science (CSES391b, Spring 2005)
Aesthetics & Cognitive Science (CSTD361a, Fall 2003)
Franklin
&
Aesthetics & Cognitive Science
(PHI/PSY/SPM 399, Spring 2006)
Art, Meaning, & Perception
(FND 182, Spring 2007, Fall 2007, Spring 2008)
Senior Research Seminar:
Scientific and Philosophical Studies of Mind Program (SPM499, Fall 2006)
Possibility of Artificial Intelligence (PHI/PSY 355, Fall 2005, Spring 2008)
Philosophy of Mind (PHI/SPM 250, Spring 2006, Spring 2007)
Biomedical Ethics (PHI/STS 223, Fall 2005, Spring 2006, Fall 2006, Spring 2007)
Bioethics: First Year Seminar (PHI 171, Fall 2008)
Introduction to Psychology, Lab (PSY 100c, Spring 2008)
Franklin W.
Olin
The Kinetic Sculpture Cohort (ICB 3 (Integrated Course Block), Fall 2002)
http://faculty.olin.edu/~jcrisman/Teaching/02KineticSculpture/index.htm
Brooklyn
Advanced
Topics: Philosophy of Film (PHI 75.1,
Spring 2004)
Philosophy and Artificial Intelligence (PHI29/PSY57.2/CIS 32.1, Fall 2004)
Philosophy
of Art (PHI 22, Fall 2003)
Epistemology (PHI 26, Spring 2004)
Twentieth Century Philosophy
(PHI 12.3, Spring 2005)
Knowledge
Existence, & Value (CORE 10, Spring 1999-Spring 2005)
Business Ethics (PHI 14, Fall 2001- Spring 2005)
Reasoning (PHI 10, Fall 2004)
Hofstra
Special Topics: Naturalizing Aesthetics (PHI 181, Summer 2003)
Philosophy of the Arts (PHI 160, Fall 2001, Fall 2002)
Practical Logic (PHI 150, Spring 2002, Spring 2003)
Introduction to Ethics (PHI 14, Fall 2000-Spring 2003)
Introduction to Philosophy (PHI 10, Summer 2002)
City
Introduction
to Ethics,
Introduction
to Philosophy,
Introduction
to Logic,
Columbia
Teaching Assistant, Construction: Steel
Sculpture (Fall 1988-Spring 1990)
Teaching Assistant, Advanced Sculpture
(Fall 1992, Spring 1993)
Foundations Workshop for
Construction: Steel Sculpture (Fall 1988-Spring 1993)
Memberships:
American Philosophical Association, member.
American Society for Aesthetics, member.
American Psychological Association, member.
Association for Psychological Science,
member.
Association for the Advancement of Science,
member.
International Association for Empirical
Aesthetics, member.
Society for Philosophy and Psychology,
member.
Other
Work Experience:
Head Assistant to the Sculptor Ursula Von Rydingsvard,
Steel and Aluminum Fabricator,
Kern-Rockenfield, Inc.,
Installations Assistant, Grand Lobby
Project,
Wilderness Canoe Guide, Keewaydin Camps
Ltd., Lake Temagami, Ontario, Canada,1984, 1989, 1992 - 1998 (responsibilities
included planning and leading one six-week wilderness expedition to Hudson Bay
in northern Quebec per year).
Co-director, Terra Incognita Ltd., 1993 -
1994 (Terra Incognita was a not-for-profit company started with a colleague to
develop multi-media educational resources for secondary school earth sciences
curricula).
Writer’s Assistant, Maria Reidelbach,
Artist’s Assistant, Reeva Potoff, Sculptor,
1990.
Artist’s Assistant, Jonathan Silver, Sculptor, 1989.