The major reference work for a rapidly advancing field synthesizes central themes, reports on current findings, and offers a blueprint for future research. Scientists' attempts to understand the physiology underlying our apprehension of the physical world was long dominated by a focus on the individual senses. The 1980s saw the beginning of systematic efforts to examine interactions among different sensory modalities at the level of the single neuron. And by the end of the 1990s, a recognizable and multidisciplinary field of "multisensory processes" had emerged. More recently, studies involving both human and nonhuman subjects have focused on relationships among multisensory neuronal ensembles and their behavioral, perceptual, and cognitive correlates. The New Handbook of Multisensory Processing synthesizes the central themes in this rapidly developing area, reports on current findings, and offers a blueprint for future research. The contributions, all of them written for this volume by leading experts, reflect the evolution and current state of the field. This handbook does more than simply review the field. Each of the volume's eleven sections broadly surveys a major topic, and each begins with a substantive and thought-provoking commentary by the section editor that identifies the major issues being explored, describes their treatment in the chapters that follow, and sets these findings within the context of the existing body of knowledge. Together, the commentaries and chapters provide an invaluable guide to areas of general agreement, unresolved issues, and topics that remain to be explored in this fast-moving field.

The Oxford Handbook of Philosophy of Perception is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the forty-five entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field. The book is accessible to anybody who has an intellectual interest in issues concerning perception.

During the last three decades, there have been enormous advances in our understanding of the neural mechanisms of selective attention at the network as well as the cellular level. The Oxford Handbook of Attention brings together the different research areas that constitute contemporary attention research into one comprehensive and authoritative volume. In 40 chapters, it covers the most important aspects of attention research from the areas of cognitive psychology, neuropsychology, human and animal neuroscience, computational modelling, and philosophy. The book is divided into 4 main sections. Following an introduction from Michael Posner, the books starts by looking at theoretical models of attention. The next two sections are dedicated to spatial attention and non-spatial attention respectively. Within section 4, the authors consider the interactions between attention and other psychological domains. The last two sections focus on attention-related disorders, and finally, on computational models of attention. Aimed at both scholars and students, the Oxford Handbook of Attention provides a concise and state-of-the-art review of the current literature in this field.

II. Sensation, Perception & Attention: John Serences (Volume Editor) (Topics covered include taste; visual object recognition; touch; depth perception; motor control; perceptual learning; the interface theory of perception; vestibular, proprioceptive, and haptic contributions to spatial orientation; olfaction; audition; time perception; attention; perception and interactive technology; music perception; multisensory integration; motion perception; vision; perceptual rhythms; perceptual organization; color vision; perception for action; visual search; visual cognition/working memory.)

Perceptual organization comprises a wide range of processes such as perceptual grouping, figure-ground organization, filling-in, completion, perceptual switching, etc. Such processes are most notable in the context of shape perception but they also play a role in texture perception, lightness perception, color perception, motion perception, depth perception, etc. Perceptual organization deals with a variety of perceptual phenomena of central interest, studied from many different perspectives, including psychophysics, experimental psychology, neuropsychology, neuroimaging, neurophysiology, and computational modeling. Given its central importance in phenomenal experience, perceptual organization has also figured prominently in classic Gestalt writings on the topic, touching upon deep philosophical issues regarding mind-brain relationships and consciousness. In addition, it attracts a great deal of interest from people working in applied areas like visual art, design, architecture, music, and so forth. The Oxford Handbook of Perceptual Organization provides a broad and extensive review of the current literature, written in an accessible form for scholars and students. With chapter written by leading researchers in the field, this is the state-of-the-art reference work on this topic, and will be so for many years to come.

We perceive and understand our environment using many sensory systems-vision, touch, hearing, taste, smell, and proprioception. These multiple sensory modalities not only give us complementary sources of information about the environment but also an understanding that is richer and more complex than one modality alone could achieve. As adults, we integrate the multiple signals from these sense organs into unified functional representations. However, the ease with which we accomplish this feat belies its computational complexity. Not only do the senses convey information about the environment in different neural codes, but the relationship between the senses frequently changes when, for example, the body changes posture (e.g. when the eyes move in their sockets), or indeed shape, when the body grows across development. These computational problems prompt an important question which represents the key focus of this book: How do we develop the ability to integrate the senses? While there is a considerable literature on the development of single senses, such as vision or hearing, few books have considered the development of all our senses, and more importantly, how they develop the ability to work with each other. This book is unique in exploring this extraordinary feat of human nature - how we develop the ability to integrate our senses. It will be an important book for all those in the fields of cognitive and developmental neuroscience.

Philosophers and cognitive scientists address the relationships among the senses and the connections between conscious experiences that form unified wholes. In this volume, cognitive scientists and philosophers examine two closely related aspects of mind and mental functioning: the relationships among the various senses and the links that connect different conscious experiences to form unified wholes. The contributors address a range of questions concerning how information from one sense influences the processing of information from the other senses and how unified states of consciousness emerge from the bonds that tie conscious experiences together. Sensory Integration and the Unity of Consciousness is the first book to address both of these topics, integrating scientific and philosophical concerns. A flood of recent work in both philosophy and perception science has challenged traditional conceptions of the sensory systems as operating in isolation. Contributors to the volume consider the ways in which perceptual contact with the world is or may be “multisensory,” discussing such subjects as the modeling of multisensory integration and philosophical aspects of sensory modalities. Recent years have seen a similar surge of interest in unity of consciousness. Contributors explore a range of questions on this topic, including the nature of that unity, the degree to which conscious experiences are unified, and the relationship between unified consciousness and the self. Contributors Tim Bayne, David J. Bennett, Berit Brogaard, Barry Dainton, Ophelia Deroy, Frederique de Vignemont, Marc Ernst, Richard Held, Christopher S. Hill, Geoffrey Lee, Kristan Marlow, Farid Masrour, Jennifer Matey, Casey O'Callaghan, Cesare V. Parise, Kevin Rice, Elizabeth Schechter, Pawan Sinha, Julia Trommershaeuser, Loes C. J. van Dam, Jonathan Vogel, James Van Cleve, Robert Van Gulick, Jonas Wulff

The two-volume 'Oxford Handbook of Music Performance' provides the most comprehensive and authoritative resource for musicians, educators and scholars currently available. It is aimed primarily for practicing musicians, particularly those who are preparing for a professional career as performers and are interested in practical implications of psychological and scientific research for their own music performance development; educators with a specific interest or expertise in music psychology, who will wish to apply the concepts and techniques surveyed in their own teaching; undergraduate and postgraduate students who understand the potential of music psychology for informing music education; and researchers in the area of music performance who consider it important for the results of their research to be practically useful for musicians and music educators.

In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically "sell" their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory (CMT) to film, television, and video games in order to analyze the embodied aesthetics and meanings of those moving images.