Body and space refer to vital and interrelated dimensions in the experience of sounds and music. Sounds have an overwhelming impact on feelings of bodily presence and inform us about the space we experience. Even in situations where visual information is artificial or blurred, such as in virtual environments or certain genres of film and computer games, sounds may shape our perceptions and lead to surprising new experiences. This book discusses recent developments in a range of interdisciplinary fields, taking into account the rapidly changing ways of experiencing sounds and music, the consequences for how we engage with sonic events in daily life and the technological advancements that offer insights into state-of-the-art methods and future perspectives. Topics range from the pleasures of being locked into the beat of the music, perception-action coupling and bodily resonance, and affordances of musical instruments, to neural processing and cross-modal experiences of space and pitch. Applications of these findings are discussed for movement sonification, room acoustics, networked performance, and for the spatial coordination of movements in dance, computer gaming and interactive artistic installations.

In this two volume festschrift, contributors explore the theoretical developments (Volume I) and applications (Volume II) in traditional cognitive psychology domains, and model other areas of human performance that benefit from rigorous mathematical approaches. It brings together former classmates, students and colleagues of Dr. James T. Townsend, a pioneering researcher in the field since the early 1960s, to provide a current overview of mathematical modeling in psychology. Townsend's research critically emphasized a need for rigor in the practice of cognitive modeling, and for providing mathematical definition and structure to ill-defined psychological topics. The research captured demonstrates how the interplay of theory and application, bridged by rigorous mathematics, can move cognitive modeling forward.

In this two volume festschrift, contributors explore the theoretical developments (Volume I) and applications (Volume II) in traditional cognitive psychology domains, and model other areas of human performance that benefit from rigorous mathematical approaches. It brings together former classmates, students and colleagues of Dr. James T. Townsend, a pioneering researcher in the field since the early 1960s, to provide a current overview of mathematical modeling in psychology. Townsend's research critically emphasized a need for rigor in the practice of cognitive modeling, and for providing mathematical definition and structure to ill-defined psychological topics. The research captured demonstrates how the interplay of theory and application, bridged by rigorous mathematics, can move cognitive modeling forward.

In Perception: First Form of Mind, Tyler Burge develops an understanding of the most primitive type of mental representational: perception. Focusing on the functions and capacities of perceptual states, Burge accounts for their representational content and structure, and develops a formal semantics for them. The discussion explains the role of iconic format in the structure. It also situates the accounts of content, structure, and semantics within scientific explanations of perceptual-state formation, emphasizing formation of perceptual categorization. In the book's second half, Burge discusses what a perceptual system is. Exploration of relations between perception and other primitive capacities-conation, attention, memory, anticipation, affect, learning, and imagining-helps distinguish perceiving, with its associated capacities, from thinking, with its associated capacities. Drawing mainly on vision science, not introspection, Perception: First Form of Mind is a rigorous, agenda-setting work in philosophy of perception and philosophy of science.

How can computers recognize faces? Why are caricatures of famous faces so easily recognized? Originally published in 1995, much of the previous research on face recognition had been phenomena driven. Recent empirical work together with the application of computational, mathematical and statistical techniques have provided new ways of conceptualizing the information available in faces. These advances have led researchers to suggest that many phenomena can be explained by the structure of the information available in the population(s) of faces. This broad approach has drawn together a number of apparently disparate phenomena with a common theoretical basis, including cross-race recognition; the distinctiveness of faces; the production and recognition of caricatures; and the determinants of facial attractiveness. This title provides a state of the art review of the field at the time in which the authors use a wide variety of approaches. What is common to all is that the authors base the accounts of the phenomena they study or their model of face recognition on the statistics of the information available in the population of faces. On publication this title was a comprehensive, up-to-date review of an important area of research in face recognition written by active researchers. It includes contributions from mathematics, computer science and neural network theory as well as psychology. It is aimed at research workers and postgraduate students and will be of interest to cognitive psychologists and computer scientists interested in face recognition. It will also be of interest to those working on neural network models of visual recognition, perceptual development, expertise in visual cognition as well as facial attractiveness and caricature.

Anthony J. Lisska presents a new analysis of Thomas Aquinas's theory of perception. While much work has been undertaken on Aquinas's texts, little has been devoted principally to his theory of perception and less still on a discussion of inner sense. The thesis of intentionality serves as the philosophical backdrop of this analysis while incorporating insights from Brentano and from recent scholarship. The principal thrust is on the importance of inner sense, a much-overlooked area of Aquinas's philosophy of mind, with special reference to the vis cogitativa. Approaching the texts of Aquinas from contemporary analytic philosophy, Lisska suggests a modest 'innate' or 'structured' interpretation for the role of this inner sense faculty. Dorothea Frede suggests that this faculty is an 'embarrassment' for Aquinas; to the contrary, the analysis offered in this book argues that were it not for the vis cogitativa, Aquinas's philosophy of mind would be an embarrassment. By means of this faculty of inner sense, Aquinas offers an account of a direct awareness of individuals of natural kinds-referred to by Aquinas as incidental objects of sense-which comprise the principal ontological categories in Aquinas's metaphysics. By using this awareness of individuals of a natural kind, Aquinas can make better sense out of the process of abstraction using the active intellect (intellectus agens). Were it not for the vis cogitativa, Aquinas would be unable to account for an awareness of the principal ontological category in his metaphysics.

While the field of vision science has grown significantly in the past three decades, there have been few comprehensive books that showed readers how to adopt a computional approach to understanding visual perception, along with the underlying mechanisms in the brain. Understanding Vision explains the computational principles and models of biological visual processing, and in particular, of primate vision. The book is written in such a way that vision scientists, unfamiliar with mathematical details, should be able to conceptually follow the theoretical principles and their relationship with physiological, anatomical, and psychological observations, without going through the more mathematical pages. For those with a physical science background, especially those from machine vision, this book serves as an analytical introduction to biological vision. It can be used as a textbook or a reference book in a vision course, or a computational neuroscience course for graduate students or advanced undergraduate students. It is also suitable for self-learning by motivated readers. in addition, for those with a focused interest in just one of the topics in the book, it is feasible to read just the chapter on this topic without having read or fully comprehended the other chapters. In particular, Chapter 2 presents a brief overview of experimental observations on biological vision; Chapter 3 is on encoding of visual inputs, Chapter 5 is on visual attentional selection driven by sensory inputs, and Chapter 6 is on visual perception or decoding. Including many examples that clearly illustrate the application of computational principles to experimental observations, Understanding Vision is valuable for students and researchers in computational neuroscience, vision science, machine and computer vision, as well as physicists interested in visual processes.

This third edition of a classic text which was first published in 1976 is the only comprehensive, up-to-date presentation of psychophysics currently available. It has been used by undergraduate and graduate students, and scholars throughout the world and is consistently thought of as the best single source for learning the basic principles of psychophysics. The coverage of the field is comprehensive, including topics ranging from the classical methods of threshold measurement, to the modern methods of detection theory, to psychophysical scaling of sensation magnitude. The approach is one in which methods, theories, and applications are described for each experimental procedure. New features found in this third edition include: * methodological and theoretical contributions made in the field during this time period, * descriptions of adaptive procedures for measuring thresholds, context effects in scaling, theory of quantal fluctuations, multidimensional scaling, nonmetric scaling of sensory differences, and the relationship between the size of the DL and the slope of the sensation magnitude function, * new methods for measuring the observer's sensitivity of criterion and an expanded discussion of category scaling including the range frequency model and verbally labeled categories, and * methods used to control the observer's nonlinear use of numbers in magnitude estimation such as line-length scaling, magnitude matching, master scaling, and category-ratio scaling.

Heroes, villains, victims, and minions are more important than ever before in our politics and culture. In the era of television, Twitter, and Facebook, groups and individuals constantly battle over their reputations. One of the best ways to gain power is to persuade others that you are competent, courageous, and benevolent, while your opponents are none of these. Thus, character work consists of more than simple claims of fact; societies build their solidarity and policies out of admiration for heroes but also outrage over villains. Recent political analysis has ignored the great characters of the past in favor of frames, heuristics, codes, and identities. In Public Characters, James M. Jasper, Michael P. Young, and Elke Zuern argue that character, reputation, and images matter in politics, and social life more generally, as they help mobilize people and their passions. First, they focus on the political construction of openly constructed and debated public characters to show how we can allocate praise and blame, identify social problems, cement identities and allegiances, develop policies, and articulate our moral intuitions through them. The authors demonstrate the nuances of characters and their interactions across a range of sources-including Shakespeare, Game of Thrones, Renaissance sculpture, modern comic books, Alexander the Great, and Bernie Madoff-all the while showing how public characters are used in political rhetoric. Finally, they complicate these characters by considering their transformations: when victims manage to become heroes and the way traditional moral characters have evolved over time to correspond with what different cultures admire, detest, or pity. This rich, detailed, and wide-ranging analysis of personal images and reputation marks a timely and crucial contribution for sociologists and political scientists concerned with the cultural dimensions of political life.

Beliefs and expectancies influence our everyday thoughts, feelings, and actions. These attributes make a closer examination of beliefs and expectancies worthwhile in any context, but particularly so within the high-stakes arena of the legal system. Whether the decision maker is a police officer assessing the truthfulness of an alibi, a juror evaluating the accuracy of an eyewitness identification, an attorney arguing a case involving a juvenile offender, or a judge deciding whether to terminate parental rights these decisions matter and without doubt are influenced by beliefs and expectancies. This volume is comprised of research on beliefs and expectancies regarding alibis, children s behaviour while testifying, eyewitness testimony, confessions, sexual assault victims, judges decisions in child protection cases, and attorneys beliefs about jurors perceptions of juvenile offender culpability. Areas for future research are identified, and readers are encouraged to discover new ways that beliefs and expectancies operate in the legal system.

This book was originally published as a special issue of "Psychology, Crime & Law.""

This is the first collection of essays to focus on feminist philosophy of mind. It brings the theoretical insights from feminist philosophy to issues in philosophy of mind and vice versa. Feminist Philosophy of Mind thus promises to challenge and inform dominant theories in both of its parent fields, thereby enlarging their rigor, scope, and implications. In addition to engaging analytic and feminist philosophical traditions, essays draw upon resources in phenomenology, cross-cultural philosophy, philosophy of race, disability studies, embodied cognition theory, neuroscience, and psychology. The book's methods center on the collective consideration of three questions: What is the mind? Whose mind is the model for the theory? To whom is mind attributed? Topics considered with this lens include mental content, artificial intelligence, the first-person perspective, personal identity, other minds, mental illness, perception, memory, attention, desire, trauma, agency, empathy, grief, love, gender, race, sexual orientation, materialism, panpsychism, enactivism, and others. Each of the book's twenty chapters are organized according to five core themes: Mind and Gender Self and Selves; Naturalism and Normativity; Body and Mind; and Memory and Emotion. The introduction traces the development of these themes with reference to the respective literatures in feminist philosophy and philosophy of mind. This context not only helps the reader see how the essays fit into existing disciplinary landscapes, but also facilitates their use in teaching. Feminist Philosophy of Mind is designed to be used as a core text for courses in contemporary disciplines, and as a supplemental text that facilitates the ready integration of diverse perspectives and women's voices.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. Christopher S. Hill argues that perceptual experience constitutively involves representations of worldly items, and that the relevant form of representation can be explained in broadly biological terms. He then maintains that the representational contents of perceptual experiences are perceptual appearances, interpreted as relational, viewpoint-dependent properties of external objects. There is also a complementary explanation of how the objects that possess these properties are represented. Hill maintains that perceptual phenomenology can be explained reductively in terms of the representational contents of experiences, and uses this doctrine to undercut the traditional arguments for dualism. This treatment of perceptual phenomenology is expanded to encompass cognitive phenomenology, the phenomenology of moods and emotions, and the phenomenology of pain. Hill also offers accounts of the various forms of consciousness that perceptual experiences can possess. One aim is to argue that phenomenology is metaphysically independent of these forms of consciousness, and another is to de-mystify the form known as phenomenal consciousness. The book concludes by discussing the relations of various kinds that perceptual experiences bear to higher-level cognitive states, including relations of format, content, and justification or support.

'Seeing' happens effortlessly and yet is endlessly complex. One of the most fascinating aspects of visual perception is its stability and constancy. As we shift our gaze or move about the world, the light projected onto the retinas is constantly changing. Yet the surrounding objects appear stable in their properties.
Psychologists have long been interested in constancies, exploring questions such as: How good is constancy? Is constancy a fact about how things look, or is it a product of our beliefs and judgments about how things look? How can the contents of visual experience be studied experimentally? However, philosophers have long been interested in characterizing visual experience and have become widely interested in the constancies more recently. As psychologists and philosophers have interacted, new questions have arisen: should we regard any departure from constancy as a failure of the visual system, or might it be a reasonable or adaptive response? In what circumstances is 'seeing' highly conditioned by cognitive factors such as background assumptions, and in what circumstances not?
Visual Experience explores size constancy and color constancy. It considers methodologies for studying conscious visual perception, efforts to describe visual experience in relation to constancy, what it means that constancy is not always perfect, and the conceptual resources needed for explaining visual experience. This interdisciplinary book is invaluable for both vision scientists and philosophers of mind.

To be a 'commonsense realist' is to hold that perceptual experience is (in general) an immediate awareness of mind-independent objects, and a source of direct knowledge of what such objects are like. Over the past few centuries this view has faced formidable challenges from epistemology, metaphysics, and, more recently, cognitive science. However, in recent years there has been renewed interest in it, due to new work on perceptual consciousness, objectivity, and causal understanding. This volume collects nineteen original essays by leading philosophers and psychologists on these topics. Questions addressed include: What are the commitments of commonsense realism? Does it entail any particular view of the nature of perceptual experience, or any particular view of the epistemology of perceptual knowledge? Should we think of commonsense realism as a view held by some philosophers, or is there a sense in which we are pre-theoretically committed to commonsense realism in virtue of the experience we enjoy or the concepts we use or the explanations we give? Is commonsense realism defensible, and if so how, in the face of the formidable criticism it faces? Specific issues addressed in the philosophical essays include the status of causal requirements on perception, the causal role of perceptual experience, and the relation between objective perception and causal thinking. The scientific essays present a range of perspectives on the development, phylogenetic and ontogenetic, of the human adult conception of perception.

How do we recognise familiar faces?
What factors determine facial attractiveness?
How does face processing develop in infants and children?
Why do face reconstruction systems, such as Photofit and E-Fit, produce such poor likenesses of the original face?
Face Processing: psychological, neuropsychological and applied perspectives is the first major textbook for 20 years that seeks to answer questions like these. Drawing on the most recent research in the field, and organised around the three main research perspectives - psychological, neuropsychological, and applied - it provides insights on issues of relevance to students from a wide range of disciplines.
Face recognition and expression perception have generated a large amount of research over the last decade, and with high profile media coverage of related issues, such as the misidentification of Brazilian student, Jean Charles de Menezes, face processing is a hot topic within the study of psychology. Face Processing captures the excitement in the field, and with reference to a wealth of studies and real-world phenomena, it reveals how our understanding of face processing has developed over the years.
The first section of the book, on the psychological perspectives of face processing, considers how we are able to recognise familiar faces; how we can extract information such as emotion, sex and age from a face; and how face processing abilities develop.
The second section covers the neuropsychological perspectives, and examines the disorders of face recognition that arise following brain injury, and asks whether faces are a 'special' class of visual stimuli.
Finally, a section on the applied perspectives of face processing describes face reconstruction systems, such as Identikit and Photofit, and their limitations; it discusses methods of constructing facial composites, and the phenomenon of 'verbal overshadowing', whereby verbal descriptions of visual stimuli subsequently leads to a temporary impairment in people's ability to recognise those stimuli.
Assuming no prior knowledge of the subject, this book is the perfect resource for students studying face processing as part of a psychology degree, and the breadth of its coverage makes it of relevance to computer science students, medical students with an interest in neurology, and students of forensic science, too.
Online Resource Centre
The Online Resource Centre to accompany Face Processing: psychological, neuropsychological, and applied perspectives features the following resources for lecturers and students.
For registered adopters
Figures from the book available to download
For students
Hyperlinks to primary literature articles
Web link library

Do humans start life with the capacity to detect and mentally represent the objects around them? Or is our object knowledge instead derived only as the result of prolonged experience with the external world? Are we simply able to perceive objects by watching their actions in the world, or do we have to act on objects ourselves in order to learn about their behavior? Finally, do we come to know all aspects of objects in the same way, or are some aspects of our object understanding more epistemologically privileged than others?
The Origins of Object Knowledge presents the most up-to-date survey of the research into how the developing human mind understands the world of objects and their properties. It presents some of the best findings from leading research groups in the field of object representation approached from the perspective of developmental and comparative psychology.
Topics covered in the book all address some aspect of what objects are from a psychological perspective; how humans and animals conceive what they are made of; what properties they possess; how we count them and how we categorize them; even how the difference between animate and inanimate objects leads to different expectations. The chapters also cover the variety of methodologies and techniques that must be used to study infants, young children, and non-human primates and the value of combining approaches to discovering what each group knows.
Bringing together leading researchers, communicating the most contemporary and exciting findings within the field of object representation, this volume will be an important work in the cognitive sciences, and of interest to those across the fields of developmental and comparative psychology.

The nature of attention is one of the oldest and most central problems in psychology. A huge amount of research has been produced on this subject in the last half century, especially on attention in the visual modality, but a general explanation has remained elusive. Many still view attention research as a field that is fundamentally fragmented. This book takes a different perspective and presents a unified theory of visual attention: the TVA model. The TVA model explains the many aspects of visual attention by just two mechanisms for selection of information: filtering and pigeonholing. These mechanisms are described in a set of simple equations, which allow TVA to mathematically model a large number of classical results in the attention literature. The theory explains psychological and neuroscientific findings by the same equations; TVA is a complete theory of visual attention, linking mind and brain. Aimed at advanced students and professional researchers, Principles of Visual Attention contains a detailed review of the most important research done on attention in vision, spanning cognitive psychology, brain imaging, patient studies, and recordings from single cells in the visual cortex. The book explains the TVA model and shows how it accounts for attentional effects observed across all the research areas described. Principles of Visual Attention offers a uniquely integrated view on a central topic in cognitive neuroscience.

We effortlessly remember all sorts of events - from simple events like people walking to complex events like leaves blowing in the wind. We can also remember and describe these events, and in general, react appropriately to them, for example, in avoiding an approaching object. Our phenomenal ease interacting with events belies the complexity of the underlying processes we use to deal with them. Driven by an interest in these complex processes, research on even perception has been growing rapidly. Events are the basis of all experience, so understanding how humans perceive, represent, and act on them will have a significant impact on many areas of psychology. Unfortunately, much of the research on event perception - in visual perception, motor control, linguistics, and computer science - has progressed without much interaction. This book is the first to bring together computational, neurological, and psychological research on how humans detect, classify, remember, and act on events. It provides professional and student researchers with a comprehensive collection of the latest reserach in these diverse fields.

True or False?
Most PowerPoint presentations are:

.compelling
.illuminating
.informative
.clear and to the point
Answer: False
Make a change following the principles of Stephen Kosslyn:

.a world authority on the visual brain
.a clear and engaging writer
Making PowerPoint presentations that are clear, compelling, memorable, and even enjoyable is not an obscure art. In this book, Stephen Kosslyn, a renowned cognitive neuroscientist, presents eight simple principles for constructing a presentation that takes advantage of the information modern science has discovered about perception, memory, and cognition. Using hundreds of images and sample slides, he shows the common mistakes many people make and the simple ways to fix them. For example, never use underlining to emphasize a word--the line will cut off the bottom of letters that have descending lines (such as p and g), which interferes with the brain's ability to recognize text. Other tips include why you should state your conclusion at the beginning of a presentation, when to use a line graph versus a bar graph, and how to use color correctly. By following Kosslyn's principles, anyone will be able to produce a presentation that works "

First published in 1995, 'The Visual Brain in Action' remains a seminal publication in the cognitive sciences. It presents a model for understanding the visual processing underlying perception and action, proposing a broad distinction within the brain between two kinds of vision: conscious perception and unconscious 'online' vision. It argues that each kind of vision can occur quasi-independently of the other, and is separately handled by a quite different processing system. In the 11 years since publication, the book has provoked considerable interest and debate - throughout both cognitive neuroscience and philosophy, while the field has continued to flourish and develop.
For this new edition, the text from the original edition has been left untouched, standing as a coherent statement of the authors' position. However, a very substantial epilogue has been added to the book in which Milner and Goodale review some of the key developments that support or challenge the views that were put forward in the first edition. The new chapter summarizes developments in various relevant areas of psychology, neuroscience and behaviour. It notably supplements the main text by updating the reader on the contributions that have emerged from the use of functional neuroimaging, which was in its infancy when the first edition was written. Neuroimaging, and functional MRI in particular, has revolutionized the field over the past 11 years by allowing investigators to plot in detail the patterns of activity within the visual brains of behaving and perceiving humans. The authors show how its use now allows scientists to test and confirm their proposals, based as they then were largely on evidence accruedfrom primate neuroscience in conjunction with studies of neurological patients.

Eye movements are a vital part of our interaction with the world. They play a pivotal role in perception, cognition, and education. Research in this field is now proceeding at a considerable pace and casting new light on how the eyes move and what information we can derive during the frequent and brief periods of fixation. However, the origins of this work are less well known, even though much of our knowledge was derived from this research with far more primitive equipment. This book is unique in tracing the history of eye movement research. It shows how great strides were made in this area before modern recording devices were available, especially in the measurement of nystagmus. When photographic techniques were adapted to measure discontinuous eye movements, from about 1900, many of the issues that are now basic to modern research were then investigated. One of the earliest cognitive tasks examined was reading, and it remains in the vanguard of contemporary research. Modern researchers in this field will be astonished at the subtleties of these early experimental studies and the ingenuity of interpretations that were advanced one and even two centuries ago. Though physicians often carried out the original eye movement research, later on it was pursued by psychologists - it is within contemporary neuroscience that we find these two strands reunited. Anyone interested in the origins of psychology and neuroscience will find much to stimulate and surprise them in this valuable new work.

The world of perception is multisensory. Even a simple task such as judging the position of a light in a dark room depends not only on vision but also on sensory signals about the position of our body in space. Likewise, how we experience food depends on sensory signals originating from the mouth, but also from nose signals, and even vision and hearing. However, traditional books on perception still discuss each of the "senses" separately. This book takes a different stance: it defines perception as intrinsically multisensory from the start and examines multisensory interactions as key process behind how we perceive our own body, control its movements, perceive and recognise objects, respond to edible objects, perceive space, and perceive time. In addition, the book discusses multisensory processing in synaesthesia, multisensory attention, and the role of multisensory processing in learning. As an introduction to multisensory perception, this book is essential reading for students in psychology, philosophy, and neuroscience at the advanced undergraduate to postgraduate levels. As the chapters address topics that are often left out of standard textbooks, this book will also serve as a useful reference for specialist perception scientists and clinicians. Finally, as a monograph understandable to the educated non-specialist this book will also be of interest to professionals who need to take into account multisensory processing in domains such as, for instance, physiotherapy, neurological rehabilitation, human-computer interfaces, marketing, or the design of products and services.

What can art tell us about how the brain works? And what can the brain tell us about how we perceive and create art? Humans have created visual art throughout history and its significance has been an endless source of fascination and debate. Visual art is a product of the human brain, but is art so complex and sophisticated that brain function and evolution are not relevant to our understanding? This book explores the links between visual art and the brain by examining a broad range of issues including: the impact of eye and brain disorders on artistic output; the relevance of Darwinian principles to aesthetics; and the constraints imposed by brain processes on the perception of space, motion and colour in art. Arguments and theories are presented in an accessible manner and general principles are illustrated with specific art examples, helping students to apply their knowledge to new artworks.

The topic of colour vision is one that integrates research from psychology, neuroscience, biology, opthalmology, physics, and genetics. How do we make sense of colour in the world, and how has such an ability evolved in humans? How are colours discriminated by the retina, and how does the brain interpret chromatic information? How can our genes influence the way in which we perceive colours? Why do some people have problems perceiving colours, and what occupational difficulties may they face? In what ways is colour vision altered by disease or toxins?

John Mollon, Joel Pokorny, and Ken Knoblauch are leading authorities on the perception of colour. Together they have brought together a distinguished list of contributors to provide an interdisciplinary review of the field. An historical introduction marks the bicentennial of Thomas Young's trichromatic theory and provides useful background for the newcomer to the topic of colour vision. Carefully edited and indexed, this book is aimed at students and researchers in the visual sciences, in perceptual psychology, and in sensory neuroscience. It will be a definitive text on colour perception for some years to come.

Getting the Blues: Vision and Cognition in the Middle Ages is an interdisciplinary study of medieval color. By integrating scientific and literary approaches, it revises our current understanding of how people in medieval Europe experienced color and what it meant to them. This book insists that the past perception of the world can be recovered by joining timeless universal constraints on human experience (discovered by science) to the unique cultural expressions of that experience (revealed by literature). The Middle Ages may evoke images of the multicolored stained glass of gothic cathedrals, the motley garb of minstrels, or the brilliant illuminations of manuscripts, yet such color often goes unnoticed in scholarly accounts of medieval literature. Getting the Blues restores some of the most important literary works of the Middle Ages to their full living color. Particular consideration is given to the twelfth-century Arthurian romances by Chretien de Troyes and the thirteenth-century Lancelot-Grail Cycle. Getting the Blues engages debates within the humanities and the sciences over universalist and relativist approaches to how humans see and name color. Scholars in the humanities often insist that color is a strictly cultural phenomenon, eschewing as irrelevant to the Middle Ages recent developments in cognitive science that show universal constraints on how people in all cultures see and name color. This book contributes to the recent cognitive turn in the humanities and sheds new light on some of the most frequent and meaningful cultural experiences in the Middle Ages: the perception, use, and naming of color.