Publications:

All papers © William P. Seeley, Department of Philosophy, University of New Hampshire. Please address communication to wseeley2 at gmail dot com.

Current Grants

Scientific Workflows, Image Analysis, and Visual Stylometry in the Digital Analysis of Art (Co-PI with Catherine Buell, Mathematics, Fitchburg State University and Rick Sethi, Computer Science, Fitchburg State University), 2016-2017. Supported by a National Endowment for the Humanities Digital Humanities Start-Up Grant ($40,000).

American Society of Aesthetics Major Projects Initiative Grant ($4,250) to supplement 2016-2017 NEH Digital Humanities Startup Grant support for Making WAIVS, a workshop to introduce scholars in the humanities to digital image analysis tools for research in art history, aesthetics, and museum education, 2016-2017.

Democratizing Visual Stylometry: Analysis of Artistic Style through Computational Workflows (with Rick Sethi, Catherine Buell, and Yolanda Gil). Communications of the Association for Computing Machinery (in press).(pdf)

Rick Sethi, Using Computers to Better Understand Art, The Conversation, June 7, 2016.

https://theconversation.com/using-computers-to-better-understand-art-56887

Visual Stylometry Team including Bill Seeley Wins NEH Digital Humanities Start-Up Grant, Grants@Bates, April 2016.

http://www.bates.edu/grants/previous-issues-grantsbates/

Books:

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

Articles

Art and Science: A Philosophical Account of Their Historical Complexity and Codependence (forthcoming). Journal of Aesthetics and Art Criticism - with Nicolas Bullot and Stephen Davies.(pdf)

Democratizing Visual Stylometry: Analysis of Artistic Style through Computational Workflows(in press). Communications of the Association for Computing Machinery - with Rick Sethi, Catherine Buell, and Yolanda Gil.(pdf)

Ecological Optics, Artworks, and Embodied Cognition, in ed. Laura Woodward, Resonate, Exhibitions Publications, Melbourne, Australia, 2016, 29-52.(pdf)

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

Neuroscience and Literature. In John Gibson and NoŽl Carroll (Eds.), The Routledge Companion to the Philosophy of Literature, New York: Routledge (2016). (pdf)

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

Philosophy of Art and Empirical Aesthetics: Resistance and Rapprochement (2014). In Pablo Tino Jefferey K. Smith (Eds.), Cambridge Handbook of the Psychology of Aesthetics and the Arts. New York: Cambridge University Press.(pdf)

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

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

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

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

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(pdf)

Movement, Gesture, and Meaning: A Sensorimotor Model for Audience Engagement with Dance (2013). In Helena de Preester and Martine Huvenne (Eds.), Motor Imagination: The Motor Dimension of Imagination in the Arts, Amsterdam: John Benjamins Publishing Company.(pdf)

Kinesthetic Understanding and Appreciation in Dance, with NoŽl Carroll (2013). In Julie van Camp and Renee Conroy (Eds.), Symposium: Dance, Art, and Science, Journal of Aesthetics and Art Criticism, 71(2): 177-186. doi/10.1111/jaac.12007(pdf)

Cognitivism, Psychology and Neuroscience: Movies as Attentional Engines, with NoŽl Carroll (2013). In Arthur Shimamura (Ed.), Psychocinematics: The Aesthetic Science of Movies. New York: Oxford University Press.(pdf)

Hearing How Smooth It Looks: Selective Attention and Crossmodal Perception in the Arts (2012). In Cynthia Freeland (Ed.), Essays in Philosophy: Aesthetics and the Senses 13(2), July 2012.dx.doi.org/10.7710/1526-0569.1434

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 & Stephen E. Palmer (Eds.), Aesthetic Science: Connecting Minds, Brains, and Experience. New York: Oxford University Press.(pdf)

The Science of Art is as Relevant to the Philosophy of Art as Artistic Representations Are to Science: A Reply to Roger Seamon (2011). The American Society for Aesthetics Newsletter, 31(3), Fall 2011: 6-7.http://c.ymcdn.com/sites/aesthetics-online.org/resource/resmgr/Newsletters/31.3.pdf(pdf)

What is the Cognitive Neuroscience of ArtÖand Why Should We Care? (2011). The American Society for Aesthetics Newsletter, 31(2), Summer 2011: 1-4. http://c.ymcdn.com/sites/aesthetics-online.org/resource/resmgr/Newsletters/31.2.pdf(pdf)

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.doi: 10.1007/s13164-010-0031-2(pdf)

Cognitive Science and Art (2009). In Stephen Davies, Kathleen Higgins, Robert Hopkins, & Robert Stecker (Eds.), Blackwell Companion to Aesthetics, 2nd Edition.(pdf)

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. doi: 10.1080/09515080801976573(pdf)

Motor Simulation & the Effects of Energetic & Emotional Costs of Depicted Actions in Picture Perception [Abstract], with Jessica Waughtel (2008). Journal of Vision, 8(6): 1041a.doi: 10.1167/8.6.1041

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

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.doi: 10.1037/1931-3896.1.2.80(pdf)

Naturalizing Aesthetics: Art and the Cognitive Neuroscience of Vision (2006). Journal of Visual Arts Practice, 5(3), 195-213. doi:10.1386/jvap.5.3.195_1

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.(pdf)

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

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.(pdf)

Related Links:

Making WAIVS! (Workflows for the Anaysis of Images in Visual Stylometry)

Using Intelligent Workflows to Ananlyze Artistic Style

RESArt: Robotics and Emegent Systems (SOFA Gallery, Indiana University, 2006)

Teaching Cognitive Science and Art

Student Collaborations

(Book Reviews, Interviews, Blogs, & Other Media)†††††††††††††††††† (In Preparation)

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