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The aim of this book, originally published in 1984, was to bring
together a number of approaches to this important topic.
Significant advances had been made in the two decades before
publication in our understanding of many aspects of the coding that
occurs along the visual pathways. The major developments had been
associated with probing the nature of "logical" processes, whether
physiologically or psychophysically, and relatively less attention
had been devoted to the problem of how such locally coded knowledge
is put together to yield coherent representations of spatially (and
temporally) extended patterns - that is, to figural synthesis.
Thus, while a great deal was known about the responses of
individual cells in the visual system to controlled stimulation,
and about the specificity of the orientational and
spatial-frequency tuning of channels assessed psychophysically,
there had been much less discussion of how such knowledge could be
brought to bear on the general problems of understanding pattern
recognition.
How was the standard model of the mind developed? Is it adequate?
And is there a place in this model for the creative genius of
artists, scientists, and mathematicians? This book looks at how
scientists investigate the nature of the mind and the brain,
providing answers to these important questions. It opens with a
description of the historical roots of cognitive science and
analyzes the strengths and weaknesses of the standard model of the
mind, including its inability to account for the many dramatic
features of human achievement. The final chapter develops the
notion that human creativity and the unfolding of human
consciousness demand two things: that we acknowledge the central
role that ideals play in human knowledge and conduct and that such
ideals have no role in the standard model. Brave New Mind proposes
a new image of humankind that accommodates the place of ideals and
creativity in cognition and life, without abandoning the scientific
ideals of empirical soundness and theoretical rigor.
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