I like trying to solve problems about the mind: Is the mind just the brain? What is consciousness, and where is it in the brain? What happens in the brain during aesthetic experience? Why are we prone to self-deception? In approaching these questions, I don’t limit myself to one discipline or set of techniques. These mental phenomena, and the problems that surround them, do not hew to our disciplinary boundaries. In spite of this, someone needs to collect, analyze, and assess information relevant to the problems—which is in many different formats—and build theories designed to make sense of it. During that time, more data will become available, so back you go.
I wrote...
Responsible Brains: Neuroscience, Law, and Human Culpability
When are people responsible for their acts, and when do we consider them not responsible? Murder requires intent, what the law calls a “guilty mind,” but if a defendant on trial for murder were found to have serious brain damage, which brain parts or processes would have to be damaged for him to be considered not responsible for the crime?
In Responsible Brains, I worked with my collaborators Katrina Sifferd and Tyler Fagan to examine recent developments in neuroscience that we argued point to the neural mechanisms behind human responsibility.Our ability to be responsible is grounded in the brain's executive processes, which allow us to make plans, shift attention, inhibit actions, and more, according to cognitive neuroscientists.
Anjan Chatterjee has managed to write a book that a) is very accessible, b) provides thorough coverage of current attempts to understand art and aesthetic experience by using information from the cognitive sciences, and c) outlines an original hypothesis about why humans evolved a love for art. That last part changes the book from a nice review of the topic to a groundbreaking attempt at an explanation of our art practices.
Chatterjee examines our judgments of peoples’ attractiveness, the brain’s system of reward chemicals, and our evolutionary history, in an attempt to understand our passion for art scientifically.
In an upcoming book on art, I refer to Chatterjee frequently. I don’t always agree with him, but his sensible, clear, and broad approach made his book very useful to me.
The Aesthetic Brain takes readers on an exciting journey through the world of beauty, pleasure, and art. Using the latest advances in neuroscience and evolutionary psychology, Anjan Chatterjee investigates how an aesthetic sense is etched into our minds, and explains why artistic concerns feature centrally in our lives. Along the way, Chatterjee addresses such fundamental questions as: What is beauty? Is it universal? How is beauty related to pleasure? What is art? Should art be beautiful? Do we have an instinct for art?
Early on, Chatterjee probes the reasons why we find people, places, and even numbers beautiful, highlighting the…
In the mid-1980s, Patricia Churchland started to pursue the idea that philosophers interested in the mind might want to have a look at what is going on in neuroscience, in her book Neurophilosophy.
This book was formative for me, in that it showed a way I could combine my interest in the brain with my love for philosophy. Since then, new generations of graduate students have seen the naturalness of the link and begun to bring the wealth of neuroscientific discoveries into the philosophical debates.
In Conscience, she looks at the evolutionary roots of our tendencies to form bonds and create social norms to approach the issue of whether our sociality is hardwired. She also discusses the troubling case of sociopaths, who appear to be naturally unethical.
Patricia Churchland, the distinguished founder of neurophilosophy, reaches beyond the familiar argument of nature versus nurture to bring together insights from philosophy and revolutionary research in neuroscience. Scientific research may not be able to say with certainty what is ethical, and the definition of morality varies from person to person. But, from birth, our brains are configured to form bonds, to co-operate and to care.
Delving into research studies, including work on twins and psychopaths, Churchland deepens our understanding of the brain's role in creating an ethical system. She then turns to philosophy to explore why morality is central to…
V. S. Ramachandran is a gifted experimentalist and writer who does not hesitate to pursue deep and important questions about our minds. Rather than employing expensive imaging or large sample sizes, he is more likely to use a cardboard box, an old stereopticon, or a rubber hand in his experiments.
His creativity in finding concrete ways to test seemingly vague but interesting claims about our minds has led to several breakthroughs, in our understanding of phantom limbs and our ability to treat phantom pain, and also in our study or synesthesia—cases in which people see numbers as having colors, for example.
As I can attest, he is able to transmit to his students the idea that pursuing scientific questions can thrilling, fulfilling, and so much fun that you can’t wait to get to work in the morning.
In this landmark work, V. S. Ramachandran investigates strange, unforgettable cases-from patients who believe they are dead to sufferers of phantom limb syndrome. With a storyteller's eye for compelling case studies and a researcher's flair for new approaches to age-old questions, Ramachandran tackles the most exciting and controversial topics in brain science, including language, creativity, and consciousness.
Are philosophers like detectives, in that they chase their culprit over any terrain, and follow any clue? What can count as a clue?
Given the right context, pretty much anything, a pencil placed here rather than there, a picture of a car, something someone said, a fingerprint. Or are we more like technicians, like the fingerprint expert who only lifts and analyzes prints? The problem with being the fingerprint expert is that it can completely remove philosophers from their originating problems and turn them into mere technicians.
Ned Block is a detective, who has followed clues about the nature of consciousness deep into psychology and neuroscience. Here Block argues that there is a genuine distinction between seeing and thinking, and draws out the consequences of that for our theories of consciousness.
Philosopher Ned Block argues in this book that there is a "joint in nature" between perception and cognition and that by exploring the nature of that joint, one can solve mysteries of the mind. The first half of the book introduces a methodology for discovering what the fundamental differences are between cognition and perception and then applies that methodology to isolate how perception and cognition differ in format and content. The second half draws consequences for theories of consciousness, using results of the first half to argue against cognitive theories of consciousness that focus on prefrontal cortex. Along the way,…
Oliver Sacks was a person who really loved science and being a scientist. Instead of describing some neurological condition or syndrome then explaining why that condition matters to our humanity, he describes the condition and the people who have it in ways that make it clear why it matters.
In Musicophilia, Sacks’ object of study is musical disorders, including cases of people who suddenly showed a great interest in music after having little prior interest, as well as people who suddenly lost all love for music. He also looks at people who have hallucinations of music, and struggle to find where the sound is coming from.
Oliver Sacks has been hailed by the New York Times as `one of the great clinical writers of the twentieth century'. In this eagerly awaited new book, the subject of his uniquely literate scrutiny is music: our relationship with it, our facility for it, and what this most universal of passions says about us.
In chapters examining savants and synaesthetics, depressives and musical dreamers, Sacks succeeds not only in articulating the musical experience but in locating it in the human brain. He shows that music is not simply about sound, but also movement, visualization, and silence. He follows the experiences…
The constellation we know as Taurus goes all the way back to cave paintings of aurochs at Lascaux. This book traces the story of the bull in the sky, a journey through the history of what has become known as the sacred bull.
Each of the sections is written from the perspective of the mythical Taurus, from the beginning at Lascaux to Mesopotamia, Ancient Egypt, and elsewhere. This is not just a history of the bull but also a view of ourselves through the eyes of the bull, illustrating our pre-literate use of myth, how the advent of writing and the urban revolution changed our view of ourselves, and how even bullfighting in Spain is a variation on the ancient sacrifice of the sacred bull.
The constellation we know as Taurus goes all the way back to cave paintings of aurochs at Lascaux. In I Am Taurus, author Stephen Palmer traces the story of the bull in the sky, starting from that point 19,000 years ago - a journey through the history of what has become known as the sacred bull. Each of the eleven sections is written from the perspective of the mythical Taurus, from the beginning at Lascaux to Mesopotamia, Ancient Egypt, Greece, Spain and elsewhere. This is not just a history of the bull but also an attempt to see ourselves through…
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