Frenkel.
In today's society, we are putting so much emphasis on science and technology, we are starting to forget that a human is not a sequence of 0's and 1's. I will talk abut Love and Math, the two pillars of Humanity. Neither can replace the other. Rather, they can -- and should -- go hand in hand. Ironically, mathematics, which most people today consider as a boring and stale subject, can open a door into a world much bigger than that of our day-to-day experiences. Though the subject itself manifests the ultimate rigor and logic, it resides in what one could refer to as a "Platonic reality," that is a realm beyond space, time, and logic. This realization can help someone like myself, who is by nature very cerebral, to infer that logic alone is not enough to describe the world, and that love and life cannot possibly be expressed by mathematical formulas.

Palmer.
Cross-modal associations from music to colors were investigated in US participants for several kinds of music, including classical orchestral pieces (by Bach, Mozart, and Brahms), single-line piano melodies (by Mozart), and 34 different genres of popular music (from jazz to heavy metal to salsa to country western). When non-synesthetes chose the 3 colors (from 37) that "went best" with each selection, their choices were highly systematic: e.g., fastermusic in the major mode was strongly associated with more saturated, lighter, yellower colors. Further results strongly suggest that these music-to-colorassociations are mediated by emotion: e.g., the happy/sad ratings of the music were highly correlated with the happy/sad ratings of the colors they chose as going best with the music (r = .97 for the classical orchestral music). Cross-cultural data from Mexican participants for the same classical music were virtually identical to those from US participants (Palmer, Schloss, Xu, & Prado-Le¢n, PNAS, 2013). Equally strong emotional effects were present for two-note musical intervals, and weaker emotional effects for the timbre (or tone color) of individual instruments. Similar experiments were conducted with 12music-to-color sysnesthetes, except that they chose the 3 colors (from the same 37) that were most similar to the colors they actually experienced while listening to the same musical selections. Synesthetes showed clear evidence of emotional effects for some musical variables (e.g., major versus minor) but not for others (e.g., slow versus fast tempi). The nature of similarities and differences between synesthetes' color experiences and non-synesthetes' colorassociations will be discussed.

Kataoka.
Mining is defined as the extraction of valuable minerals from the earth and it has been occurring since prehistoric times. As an artist, I often mine memory, both my own (individual), and that of my extended communities (collective). How can art mine memory, that is to say extract intangible yet invaluable materials and continually build anew out of them? Interestingly, traditional mining has exploitative overtones and sources inevitably get depleted. However, in an artistic metaphorical context "mining" is subverted and becomes restorative, replenishing, and not finite. I will share recent artworks including Magic Boxes, Membranes and brainwave artworks. "Magic Boxes" are a new art form I've developed to mimic natural cognitive processes. The viewer can never see the art in its entirety at once, but must rely on their memory to piece together what they just saw with what they are now seeing---uniting more, or less, faded memories with vibrant recent experiences to patch together the canvas of knowledge. With "Membranes" I wanted to create artworks that are not static objet, but instead are viewing tools-ones that shape and transform our view of our environment, the world and ourselves. The inspiration behind these works is the cellular membrane-- which serves as a wall, a conduit and a tool for creation and destruction. Selectively only certain visuals are allowed to permeate through. Finally, I will talk about memory and the cognitive process in connection with some of my recent brainwave artworks. "The Tree of Pascal" is a collaboration among 100+ brains from all over the world to keep a small tree alive. It is an artwork, but also a digitally-enabled ecosystem. It leverages modern technologies, such as recorded and "live" EEG data, electrochromic glass, and digital signal processing, but is rooted in the haunting words of a 17th century French mathematician & philosopher.

Gopnik.
In the past 15 years we've discovered that even young children are adept at inferring everyday theories from statistical patterns. But are there differences in the ways that younger children, older children and adults learn? I will present studies showing that younger learners are actually sometimes better at inferring unusual or unlikely principles than older learners. I'll relate this to computational ideas about search and sampling and to evolutionary ideas about human life history. Our distinctively long human childhood allows a period for exploring a wide range of possibilities without having to exploit information for purposes of survival.