Books

• Attentional Engines: A Perceptual Theory of Art, Oxford University Press (2020).

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Articles in Peer-Reviewed Journals

• Art and Science: A Philosophical Account of Their Historical Complexity and Codependence (with Nicolas Bullot and Stephen Davies) (2017). Journal of Aesthetics and Art Criticism, 75(4), 2017: 453-463.

• Olfaction, 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.

• 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) (2013). In eds. Julie van Camp and Renée Conroy, Symposium: Dance, Art, and Science, Journal of Aesthetics and Art Criticism, 71(2): 177-186.

• 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.

• 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.

• Motor Simulation & the Effects of Energetic & Emotional Costs of Depicted Actions in Picture Perception (with Jessica Waughtel) (2008). Journal of Vision, 8(6): 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.

• 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.

 

 

Invited Articles and Book Chapters​

• The Link between Empirical Aesthetics and Philosophy (in press). In eds. Marcos Nadal and Oshin Vartanian, The Oxford Handbook of Aesthetics. New York: Oxford University Press.

• Some Ecological Thoughts about Artworks and Perception (2020). In ed. Shyam Wuppulri and Dali Wu, The Armchair and the Paintbrush. Baskingstroke, UK: Springer.

• Seeking Salience in Engaging Artworks: A Short Story about Attention, Artistic Value, and Neuroscience (2018). In eds. Julia Christensen and Antoni Gomila, The Arts and the Brain: Psychology and Physiology Beyond Pleasure, Progress in Brain Research Series (pp. 437-453). Elsevier.

• Categories of Art and Computers: A Question of Artistic Style (with Catherine A. Buell and Ricky J. Sethi) (2017). American Society for Aesthetics Newsletter, 37(3), Winter: 9-11.

• Neuroscience, Narrative, and Emotion Regulation (2018). In ed. Roger Kurtz, Trauma and Literature (pp. 153-166). New York: Cambridge University Press.

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

• 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.

• 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 (pp. 235-252). New York: Routledge.

• 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 (pp. 35-59). New York: Cambridge University Press.

• Cognitivism, Psychology and Neuroscience: Movies as Attentional Engines (with Noël Carroll) (2013). In ed. Arthur Shimamura, Psychocinematics: Exploring Cognition at the Movies (pp. 53-75). New York: Oxford University Press.

• 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 (pp. 51-68). Philadelphia: John Benjamins Publishing Company.

• 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), Winter: 4-5.

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

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

• The Philosophy of Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music, and Visual Arts (with Noël Carroll and Margaret Moore) (2012). In eds. Arthur P. Shimamura and Stephen E. Palmer, Aesthetic Science: Connecting Minds, Brains, and Experience (pp. 31-62). New York: Oxford University Press.

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Commentary, Proceedings, Catalogs, and Reference Volumes

• Ecological Optics, Artworks, and Embodied Cognition (2016). In ed. Laura Woodward, Resonate (pp. 29-52). Melbourne, Australia: AirSpace Projects, 2016.

• Neuroscience and Appreciation, Very Funny Indeed (2015). Aesthetics for Birds, ed. Christy Mag Uidhir, July 6, 2015. Retrieved August 15, 2017: http://www.aestheticsforbirds.com/2015/07/neuroscience-appreciation-very-funny.html

• 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 XXIII: 372-376.

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

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

• 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 XX: 723-726.

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

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

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Book Reviews

• Book Review: The Aesthetic Brain, Anjan Chatterjee, New York: Oxford University Press, 2013. Journal of Aesthetics & Art Criticism, 74(4), 2016: 430-432.

• Book Review: Feeling Beauty: The Neuroscience of Aesthetic Experience, G. Gabrielle Starr. Cambridge, MA: MIT Press, 2013. Journal of Aesthetics & Art Criticism, 72(3), 2015: 342-345.

• Book Review: New Waves in Aesthetics, Kathleen Stock & Katherine Thomas-Jones (Eds.). New York: Palgrave MacMillan, 2009. Journal of Aesthetics & Art Criticism, 68(2): 188–191.

• Book Review: Philosophy & Conceptual Art, Peter Goldie & Elisabeth Schellekens (Eds.). New York: Oxford University Press, 2008. Journal of Aesthetics & Art Criticism, 66(2): 203-205.

• Book Review: The Creation of Art, Berys Gaut and Paisley Livingston (Eds.). New York: Cambridge University Press, 2005. Philosophical Inquiry, Volume XXVII, Summer-Fall: 126-129.

• Book Review: AngloModern: Painting and Modernity in Britain and the United States, Janet Wolff. Ithaca, NY: Cornell University Press, 2003. Leonardo Reviews (September, 2004), www.LDR.org

• Book Review: Neurons and Networks, 2nd Edition, John Dowling. Cambridge, MA: Harvard University Press, 2001. New in Brain and Behavioral Science, 2(78), November 23, 2002.