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William P. Seeley

Department of Philosophy

Bates College

 

 

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.

      Advisor: David M. Rosenthal.

Columbia University, School of the Arts, M.F.A., Sculpture, 1992.

Columbia University, B.A., Philosophy, 1988.

Areas of Specialty:           

Philosophy of Art, Cognitive Science, Philosophy of Mind, Sculpture.

Areas of Competence:     

Philosophy of Artificial Intelligence, Philosophy of Film, Biomedical Ethics, Philosophy of Psychology, Philosophy of Science, Philosophy of Language,.

Awards and Honors:

Geoffrey Marshall Dissertation Fellowship for Distinguished Research in the Humanities, CUNY, 2003 – 2004 (declined, accepted position at Yale University as Guest Fellow and Lecturer).

Honorable Mention. Annual Student Exhibition. National Arts Club, New York City, 1989.

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

Grants and Fellowships:

Co-PI, NEH Digital Humanities Startup Grant ($40,000) in support of software development and research for Scientific Workflows, Image Anaysis, and Visual Stylometry (WAIVS) in the Digital Analysis of Art.

Bates College Faculty Development Fund Grant, Supplementary Travel Grant, 2013. ($1,717.09). The purpose of this grant was to support travel the Eastern and Pacific Division Meetings of the American Philosophical Association to participate on the main program and meet with collaborators to discuss works then in preparation (subsequently published, see below): "Cognitive Theory and the Individual Film: The Case of Rear Window" and "Kinesthetic Understanding and Appreciation in Dance."

Bates College Faculty Development Fund Grant, 2013  ($1,005). Philosophy of Cognitive Science: Curricular and Professional Development. The purpose of this grant is to provide funds to purchase E-Prime 2.0, a software application for designing experiments and collecting data, to support the development of curriculum and research in philosophy and cognitive science and strengthen bridges developed between the philosophy and psychology departments through a recent Mellon Innovation Grant.

Bates College Faculty Development Fund Grant, 2011-2012 ($4,903). The purpose of this grant was to support of attendance at Penn Neuroscience Bootcamp and related research and curricular development.

Franklin & Marshall College Committee on Grants Research Grant, 2008 ($1,000). The purpose of this grant was to provide funds to support of Effects of Interpretation of Energetic & Emotional Costs in Picture Perception.

Franklin & Marshall College Committee on Grants Research Grant, 2006-2007 ($1,000). The purpose of this grant was to provide funds to support of collaborative research associated with Artists and Non-Artists Eye Movements in Out-of-Focus Picture Recognition (see below).

Publications:

Books

Attentional Engines: A Perceptual Theory of Art, Oxford University Press (under contract).

Philosophy:

Synthesize, Cohere, Integrate, Unify: A Panel Discussion on Assessmenst in the Studio Arts (to appear in eds. James Elkins & Rebecca Duclos, Art Words: Synthesize, Cohere, Integrate, Unify, Volume 1) (forthcoming).

Neuroaesthetics and Literature (2016). In eds. John Gibson and Noël Carroll, The Routledge Companion to the Philosophy of Literature. New York: Routledge, 268-278.

Neuroscience and Appreciation…Very Funy Indeed (2015). Aesthetics for Birds, ed. Christy Mag Uidhir, July 6, 2015. http://www.aestheticsforbirds.com/2015/07/neuroscience-appreciation-very-funny.html

Art, Meaning, and Aesthetics: The Case for a Cognitive Neuroscience of Art (2015). In eds. Marcos Nadal, Joseph P. Huston, Luigi Agnati, Francisco Mora and Camilo José Cela-Conde Art, Aesthetics, and the Brain. New York: Oxford University Press, 19-39.

Empirical Aesthetics (2014). In eds. Michael Kelly, The Encyclopedia of Aesthetics. New York: Oxford University Press.

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

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.

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

Kinesthetic Understanding and Appreciation in Dance (with Noël 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.

Movement, Gesture, and Meaning: A Sensorimotor Model for Audience Engagement with Dance (2013). In eds. Helena de Preester, Moving imagination: Explorations of Gesture and Inner Movement in the Arts, Amsterdam: John Benmjamins Publishing Company, 51-68.

Cognitivism, Psychology and Neuroscience: Movies as Attentional Engines (with Noël 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 Noël 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 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 (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:

Artworks Are Attentional Engines: Normative Conventions and Evaluative Perception in the Arts (2014). In ed. Aaron Kozbelt, Proceedings of the International Association of Empirical Aesthetics,Volume XXIII, 372-376.

Olfacation, Valuation, and Action: Reorienting Perception (with Jason Castro) (2014). In eds. Benjamin D. Young and Andreas Keller, Frontiers in Consciousness Research: Olfactory Consciousness across Disciplines, 5(299). doi: 10.3389/fpsyg.2014.00299

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: The Aesthetic Brain, Anjan Chatterjee, New York:Oxford University Press.

Book Review: How Literature Plays with the Brain, Paul B. Armstrong. Baltimore: Johns Hopkins, 2013.  Journal of Aesthetics & Art Criticism (forthcoming).

Book Review: Feeling Beauty: The Neuroscience of Aesthetic Experience, G. Gabrielle Starr. Cambridge, MA: MIT Press, 2013. Journal of Aesthetics & Art Criticism, 72(3): 342-345.

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 Britain and the United States, Janet Wolff (September, 2004). Leonardo Reviews, www.LDR.org

Book Review: The Imagery Debate, Michael Tye September 18, 2003). Metapsychology Online Reviews. http://www.mentalhelp.net/poc/view_doc.php?type=book&id=1895&cn=90

Book Review: The Madonna of the Future: Essays in  Pluralistic Artworld, Arthur. C. Danto (December 6, 2001). Metapsychology Online Reviews. http://metapsychology.mentalhelp.net/poc/view_doc.php?type=book&id=863&cn=166

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:

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

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

The Philosophy and Robotics Primer: Teaching Philosophy with Lego Robots (lab manual / book proposal)

Is Olfaction Really an Outlier?: A Review of Anatomical and Functional Evidence for a Cortico-Thalamic Olfactory Attentional Circuit (with Julie Self).

Art, Psychology, & Neuroscience (with Stephen Davies, University of Auckland).

Empathy into Pictures (with Noel Carroll, CUNY-The Graduate Center).

Navigation, Charts, and the Philosophy of Art: A Cognitive Ecology of Normative Conventions

What Is a Category of Art: Concepts, Categories and Cognition in our Engagement with Art and Other Things

Emotion, Attention, and Environmental Aesthetics: Carroll v. Carson and Loci of Appreciation

Attention and Cognitive Control in Affective Perception for Embodied Appraisals.

Engaging Artworks: A Crossmodal Model for Evaluative Perception.

Affective or Sensorimotor: Embodied Cognition in the Light of Current Research on Affective Attention

Mammals and Music among Others: Crossmodal Perception and Musical Expressiveness.

Metakinesis, Neuroscience, and Dance: Motor Expertise, Implicit Learning and the Average Dance Audience. 

Sparse, Narcissistic, and Under Attentional Control: Visual Routines and the Unity of Consciousness.

Art, Affect, and Appreciation: Artworks are Affective Attentional Engines.

Seeing Sculpture: Dynamics and Deictic Codes.

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

Deliberative, Informative or Paternalistic: Genetic Testing as a Case Study in the Doctor-Patient Relationship.

Selected Exhibitions, Installations, & Performances:

Collaborative Embodied Drawings, Arts Crawl, Chase Hall Gallery, Bates College, January 2014, 2015, 2016.

110513c (30 Person Drawing, Trees & Swine). Historic Quad, Bates College, November 5, 2013, 2:25pm – 2:40pm.

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). Schaeffer Theater, Bates College, November 12-14, 2011.

Constrained Views, Natural Vistas, and the Constructed Landscape: Revealing a Science-Based Approach to the Aesthetics of 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).

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

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

Current Research & Collaboration:

Scientific Work Flows, Image Analysis & Visual Stylometry (WAIVS) in the Digital Analysis of Art (2015-2017) – with Catherine Buell (Assistant Professor of Mathematics, Fitchburg State University) and Ricky Sehti (Assistant Professor of Computer Science, Fitchburg State University).

Evolving a Reward System: Value-Based Learning in Evolved Artificial Neural Network Controllers for Autonomous Mobile Robots (2015-2016) - with Juergen Kritschgau (Mathematics & Philosophy, Bates College, 2016) and Gregg Heller (Mathematics & Neuroscience, Bates College, 2016).

Sensorimotor Strategies for Object Categorization Through Environmental Interaction: A Study in Artificial Intelligence and Distributed Representation (2015) - with Juergen Kritschgau (Mathematics & Philosophy, Bates College, 2016) (supported by a Hoffman Summer Research Fellowship: $3500).

Association Learning and Evolved Neural Network Controllers: Implementing Scalable Architectures for Modeling Intelligent Behaviors in Lego NXT Robots (2015) - with Peter Cole (Physics, Bates College, 2015), Bates College and Gregg Heller (Mathematics & Neuroscience, Bates College, 2016).

Embodied Cognition, Intelligent Behavior and the Philosophy of Mind: Teaching Philosophy with Lego Robots (2015-2016) -  with Claire Bartell (Junior, Biology/Philosophy), Bates College.

The Kindergarten Learning Approach: Implementing Early STEM  Learning in a 6th Grade Classroom with Lego Robots (2015-2016) – with Joeseph Tulip (Chemistry, Bates Collegem 2018).

Image Analysis and Visual Stylometry: Hue, Saturation, Luminance and Contour as Markers of Categories of Art - with Catherine Buell (Visiting Assistant Professor, Mathematics) and Mathieu Duvall (Director, Imaging Center), Bates College.

Does Visuomotor Skill Confer an Advantage in Gestalt Completion Tasks and Out-of-Focus Picture Recognition in Baseball and Softball Players - with Elise Levesque (Senior, Psychology) Erin Harmon (Senior, Politics), Travis Boyle (Junior, Mathematics), and Jane Mayer (Senior, Neuroscience), Bates College.

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, Bates College).

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:

Shapes, Functions, Concepts, Categories, Children, Panel on Developmental Aesthetics, American Society for Aesthetics, Annual Meeting, Seattle, Washington, October, 2016.

Normativity and Neuroscience…Very Funny Indeed. American Philosophical Association, Pacific Division Meeting, San Francisco, California, March 2016

Mammals and Music among Others: Crossmodal Perception and the Problem of Musical Expressiveness. Philosophy Department Colloquium, University of New Hampshire, October 2015.

Normativity, Neuroscience and the Philosophy of Art. Northern New England Philosophical Association, Annual Meeting, Bates College, Lewiston, Maine, September 2015.

Engineering Philosophy with Legos, Robots, and a Little Bit of Neuroethology. Learning in Commons: Creating Connections, Bates College, Lewiston, Maine, May 2011.

ART WORDS: Synthesize, Cohere, Interplay, Integrate, Unify, The Art Institute of Chicago, Chicago, Illinois, April 2015.

Metakinesis and the Neuroscience of Dance: Do Motor Expertise Effects Generalize to Average Viewers, Boston College Psychology Colloquium Series, Boston College, Chestnut Hill, Massachussets, September 2014.

Seeking Salience: A Short Story about Engaging Art, Seeing and Knowing: Approaches to Visual Knowledge, 11th International Conference on Neuroaesthetics, University of California, Berkeley, September 2014.

Artworks Are Affective Attentional Engines: Normative Conventions and Evaluative Perception in the Arts, Congress of the International Association of Empirical Aesthetics, New York City, August 2014.

Narrative Gravity / Constructive Fictions: Fabricating Actors, Characters, and Communities, Baccalaureate Address, Bates College, Lewiston, Me, May 2014.

Art, Appreciation, and a Crossmodal Model for Evaluative Perception, American Society for Aesthetics, Pacific Division Meeting, Asilomar, Pacific Grove, California, April 2014.

Attention and Cognitive Control in Affective Perception for Embodied Appraisals. American Philosophical Association, Central Division Meeting, Chicago, Illinois, February 2014.

Panel: Aesthetics and the Senses (Respondent). American Society for Aesthetics, Annual Meeting, San Diego, California, October, 2013

Kinetic Transfer and Artistic Conventions: An Embodiment and Appreciation in Nancy Stark Smith's Underscore. Minded Motion: meta-academy@Bates 2013, Bates Dance Festival, Lewiston, Maine, July 2013.

Art, Neuroscience and Philosophy: Unlikely Partners or Natural Bedfellows, Philosophy and Art: Views from the 21st Century, Camden Philosophical Society, Camden, Maine, July, 2013.

Mammals and Music among Others: Crossmodal Perception and Musical Expressiveness, American Philosophical Association, Pacific Division Meeting, San Francisco, California, March 2013.

Mammals and Music among Others: Crossmodal Perception and Musical Expressiveness, Philosophy Colloquium Series, University of Maine, Orono, March 2013.

Mammals and Music among Others: Crossmodal Perception and Musical Expressiveness, Philosophy of Perception and Aesthetics, University of Antwerp, Antwerp, Belgium, December 2012.

Neuroscience, Creativity, and Collaboration in the Arts. Nicholas R. Clifford Symposium: Creativity and the Arts, Middlebury College, September, 2012.

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 Sensorimotor 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 Humanities Colloquium, Bates College, Lewiston, 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:

Program Committee, American Society for Aesthetics, National Meeting, Savannah, Georgia, 2015.

Program Co-Chair, American Society for Aesthetics, Pacific Division Meeting, Asilomar, California, 2015.

Referee, British Journal of Aesthetics, Journal of Aesthetics and Art Criticism, Synthese, Psychology of Aesthetics, Creativity, and the Arts, Leonardo, MIT Press, Routledge, Oxford University Press, Westview Press.

Chair, Symposium: Neuroaesthetics, American Philosophical Association, Eastern Division Meeting, Atlanta, Georgia, 2012.

External Evaluator (guest critic), Senior Thesis Seminar, Studio Art Department, Dartmouth College, Hanover, NH, April 2011.

Program Co-Chair, American Society for Aesthetics, Eastern Division Meeting, Philadelphia,2008-2010.

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.

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, Vancouver, British Columbia, April 2009.

Chair, Panel on Cognitive Science and the Arts: Neuroscience, Music and the Visual Arts, American Society for Aesthetics, Eastern Division Meeting, Philadelphia, Pennsylvania, April 2009.

Chair, Author Meets Critics: Noël Carroll’s Philosophy of Motion Pictures, American Society for Aesthetics, Eastern Division Meeting, Philadelphia, April 2008.

Participant, Viewpoints 2007: Mathematics and Art Workshop, Franklin & Marshall College, June 2007.

Chair, Author-Meets-Critics: Peter Carruthers, The Architecture of the Mind: Massive Modularity and the Flexibility of Thought, American Philosophical Association, Pacific Division Meeting, San Francisco, California, April 2007.

Chair, Symposium: Picture Perception, American Society for Aesthetics, Annual Meeting, Milwaukee, Wisconsin, October 2006.

Chair, Infectious Music: Music Listener Emotional Contagion, Stephen Davies, Empathy: An International Interdisciplinary Conference, Cal State, Fullerton, June 2006.

Chair, Colloquium: Extended Memories and the Functional Role Objection, American Philosophical Association, Pacific Division Meeting, Portland, Oregon, March 2006.

McDonnell Project Early Career Researchers Workshop, California Institute of Technology, Pasadena, California, June 2005.

Chair, Panel Session: The End of Art and the End of Aesthetics? (Re)Discovering Aesthetics, University College Cork, Ireland, July 2004.

University Service:

Baccalaureate Address, Bates Colleges, May 2014.

Institutional Review Board (IRB), Bates College, 2013-2015

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, Franklin & Marshall College, August 2008.

Chair, Curriculum Development Seminar: Visual Studies, Franklin & Marshall College, July 2008.

Juror, Phyllis C. Whitesell Writing Prize for Foundations Seminars, Franklin & Marshall College, 2008.

Search Committee, Women’s Varsity Field Hockey Coach Search, Franklin & Marshal College, 2008.

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, Franklin & Marshall College, August 2006.

Facilitator, Sexual Assault Prevention Workshop, New Student Orientation, Franklin & Marshall College, August 2006.

Steering Committee, Brooklyn College Cognitive Science Colloquia, Brooklyn College, 2003-2005.

Secretary, Department of Philosophy, Brooklyn College, 2004 – 2005.

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, Brooklyn College, December 2004.

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, Brooklyn College, October 2003.

Grade Grievance Committee, Department of Philosophy, Brooklyn College, Fall 2003.

Chair, Ad Hoc Collections Committee, Department of Philosophy, Brooklyn College, Fall 2003 (committee formed to develop a text book assistance award for philosophy majors).

Adjunct Representative to the Department Personnel Committee, Hofstra University, Department of Philosophy and Religious Studies, 2003.

Teaching Experience:                                                                                                      

Philosophy:

Bates College, 2014-2015 (Lecturere).

Bates College, 2010-2014 (Visiting Assistant Professor).

Yale University, 2010 (Lecturer in Yale College and Guest Fellow in Ezra Stiles College).

College of the Holy Cross, 2010 (Lecturer).

Bates College, 2009-2010 (Lecturer).

Bates College, 2008-2009 (Visiting Assistant Professor).

Franklin & Marshall College, 2005 - 2008 (Visiting Assistant Professor).

Yale University, 2005 (Lecturer in Yale College and Guest Fellow in Ezra Stiles College).

Brooklyn College, CUNY, 2003 - 2005 (Visiting Instructor).

Yale University, 2003 (Lecturer in Yale College and Guest Fellow in Timothy Dwight College).

Brooklyn College, CUNY, 2001 - 2003 (Graduate Teaching Fellow).

Hofstra University, 2000 - 2003 (Adjunct Lecturer).

College of Staten Island, 2000 - 2001 (Graduate Teaching Fellow).

City University of New York 1997 - 2003 (Adjunct Lecturer)

Art:

Franklin W. Olin College of Engineering, 2002 (Course Consultant).

Columbia University, School of the Arts, Division of Visual Arts, 1988 - 1993 (Teaching Assistant).

Thesis Supervision:

Zena Sabath, Department of Philosophy, Bates College, 2014. Thesis Title: Seeing Zombies: What If DF Wasn't Conscious of Her Visual Environment?

Jane Mayer, Department of Psychology (Neuroscience), Bates College, 2014. Thesis Title: What can Movies Teach Us about How We See: Visuaol Attention and Event Segmentation during Dynamic Scene Viewing.

Tamara Gonzalez, Department of Psychology (Neuroscience), Bates College, 2014. Thesis Title: The Validity of Mu Wave Suppression as a Measure of Theory of Mind Deficits in Autism Spectrum Disorders.

Daniel Friedman, Department of Psychology (Neuroscience), Bates College, 2012. Thesis Title: Robots and Forward Models: An Artificial Neural Network Model for Controlling Gate in Quadrupedal Robots.

David Pless, Department of Philosophy, Bates College, 2012. Thesis Title: How Direct Are Embodied Appraisal Theories of Emotions.

David Kelly, Department of Philosophy, Bates College. Thesis Title: Embodying Music: A Hybrid Theory of Emotions Resolves the Problem of Musical Expressiveness

Jason Brander, Department of Philosophy, Bates College, Thesis Title: On Seeing Photographs: An Aesthetic Account

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, Franklin & Marshall College. Thesis title: Motor Simulation & Motor Unit Action Potentials Associated with Imagined Actions in Picture Perception: an EMG Study

Erica Ofeldt, Biological Foundations of Behavior, Franklin & Marshall College. Motor Skill as a Mediating Variable in the Effects of Energetic Costs on Apparent Egocentric Distance.

Sahil Patel, Biological Foundations of Behavior, Franklin & Marshall College, 2008. Thesis title: A Unified Model for the Effects of Motor Planning and Emotional Response on Apparent Slope and Egocentric Distance.

Elliot Platt, Scientific & Philosophical Studies of Mind, Franklin & Marshall College. Thesis title: Effects of Changes in Interpreted Emotional Costs of Action on the Perceived Spatial Extent of ‘Christina’s World.

Sarah Baron, Department of Cognitive Science, Yale University. Thesis title: Is Facial Attractiveness Asymmetrically Dependent on Holistic Face Perception?

Courses Taught:                                                                                                                        

Bates College (2008-2011) Department of Philosophy:

Computational Modeling: Autonomous Robotics and Embodied Cognition (PHIL321h, Winter 2015)

Philosophical Issues in Cognitive Science PHIL 321g, Winter 2013)

Embodied Cognition and the Philosophy of Artificial Life (PHIL321f, Winter 2012, Winter 2014)

The Possibility of Artificial Intelligence (PLPY 321e, Winter 2011)

Colors & Sounds (PHIL 321c, Fall 2008)

Computational Modeling: Intelligence and Intelligent Systems (PHIL237, Fall 2014)

Philosophy of Mind (PHIL 235, Fall 2011, Fall 2012, Fall 2013)

Philosophy of Language (PHIL 234, Winter 2009, Winter 2013, Fall 2013)

Philosophy of Psychology (PHIL 232, Winter 2011)

Philosophy of Science (PHIL 211, Winter 2014)

Philosophy of Art (PHIL 227a/b, Fall 2008, Fall 2010, Fall 2012, Fall 2013)

Biomedical Ethics (PHIL 213, Winter 2012)

Metaphysics (PHIL 245, Spring 2009)

Philosophy of Film (PHIL S24, Short Term 2011)

Introduction to Philosophy (PHIL 150a/b, Fall 2011)

Animats, Minds, and Mobots: Exploring Cognitive Science with Lego Robots (FYS, 443, Fall 2014)

The Power of Art (FYS 382, Fall 2009)

Yale University (2003, 2005, 2010) College Seminar Program:

      Aesthetics & Cognitive Science (CSES221b, Spring 2010)

      Aesthetics & Cognitive Science (CSES391b, Spring 2005)

      Aesthetics & Cognitive Science (CSTD361a, Fall 2003)

Franklin & Marshall College (2005-2008) Department of Philosophy, Scientific & Philosophical Studies of Mind Program, Department of Psychology:

      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 College of Engineering (2002):

      The Kinetic Sculpture Cohort (ICB 3 (Integrated Course Block), Fall 2002)

      http://faculty.olin.edu/~jcrisman/Teaching/02KineticSculpture/index.htm

Brooklyn College (2001-2005) Department of Philosophy:

      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 University (2000-2003) Department of Philosophy:

      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 University of New York (1997-2003):

      Introduction to Ethics, Baruch College, College of Staten Island (1999-2001)

      Introduction to Philosophy, Baruch College, College of Staten Island (1999-2001)

      Introduction to Logic, Medgar Evers College, College of Staten Island (1997-2001)

Columbia University (1988-1993) Division of Painting & Sculpture:

      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.

Association for Psychological 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, Brooklyn, NY 1990 - 1993.

Steel and Aluminum Fabricator, Kern-Rockenfield, Inc., Brooklyn, NY, 1993 - 1997 (custom fabrication for art and architectural design).

Installations Assistant, Grand Lobby Project, Brooklyn Museum, Brooklyn, NY, 1993 - 1994.

Wilderness Canoe Guide, Keewaydin Camps Ltd., Lake Temagami, Ontario, Canada,1984, 1989, 1992 – 1998, 2014 (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, New York, NY, 1993 - 1994.

Artist’s Assistant, Reeva Potoff, Sculptor, 1990.

Artist’s Assistant, Jonathan Silver, Sculptor, 1989.

 

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