Contents
Introduction
Section 1
References
1. The Enlightenment: Descartes and His Times
2. Dualisms
3. How to Lose Your Mind
4. Consciousness, Awareness, and Lived Experience
5. Mental Representation
6. Cartesianism, Cognitivism, and (Digital) Computing
7. Postcognitivism: Biological and Sociological Refutations of Mentalism
8. Skill and the Academy
9. Skill and Intelligence, Theoretical and Practical Knowledge
Section 2
10. Brains and Bodies: Phylogenetic and Bioenergetic Perspectives
11. Paleocognition
12. Proprioception: The Sense That Makes the Other Senses Make Sense
13. The Fascinations of Fascia
14. Neural Prediction and Bioenergetics
15. Neuroplasticity, Spinal Learning, and Embodied Simulation
16. Aphantasia and Mental Rehearsal
17. Learning and Teaching Skills
18. Memory, Knowledge, Awareness
19. Manifesto for a Holistic Neurophysiology
Section 3
20. Putting Mind, Body, and World Back Together Again, Again
21. The Incorporation of Tools: Proprioceptive Prosthetic Extension
22. Cognitive Ecologies and Structured Spaces: Making in the Atelier, the Studio, the Workshop, the Lab
23. Contingent Representations: Working Drawings and Witness Marks
24. Creativity, Hylomorphism, and the Dance of Agency
25. The Place of Artisanal Knowledge in Western History
26. Traditional Indigenous Pacific Boatbuilding, Seafaring, and Navigation
27. Skill and Machine Tools: The Sooty Stepchild Thesis
28. Cognitive Ecologies on the Shop Floor
Section 4
29. Skill and Digital Cultures
30. Neurophysiological Holism and Digital Interaction
31. Why Interfaces Make Sense
32. In Screenspace: Interacting with Lively Models
33. Learning on Screen and Knowing the World
34. Computing, STEM, and Neoliberal Educational Policy: A Perfect Storm
35. AI – a neurophysiologically holistic rejoinder References
Biography
Simon Penny trained as a sculptor in Australia. He was Professor of Robotic Art at Carnegie Mellon through the 1990s, where he worked in custom robotic art and interactive installation. He published Making Sense: Cognition, Computing, Art and Embodiment with MIT Press in 2017. He is professor of Art, Music and Informatics at University of California Irvine.
