Related categories
Siblings:
112 found
Search inside:
(import / add options)   Sort by:
1 — 50 / 112
  1. S. Alexander (1926). Art and Science. Philosophy 1 (01):5-.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  2. Walter Truett Anderson (1994). The Moving Boundary: Art, Science, and the Construction of Reality. World Futures 40 (1):27-34.
    (1994). The moving boundary: Art, science, and the construction of reality. World Futures: Vol. 40, Art and Science: Studies from the World Academy of Art and Science, pp. 27-34.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  3. Archie J. Bahm (1972). Is a Universal Science of Aesthetics Possible? Journal of Aesthetics and Art Criticism 31 (1):3-7.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  4. Katerina Bantinaki (2012). The Paradox of Horror: Fear as a Positive Emotion. Journal of Aesthetics and Art Criticism 70 (4):2012.
  5. R. Berger (1990). Science and Art: The New Golem: From the Transdisciplinary to an Ultra-Disciplinary Epistemology. Diogenes 38 (152):124-146.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  6. Noel Boulting (2006). On Interpretative Activity: A Peircian Approach to the Interpretation of Science, Technology, and the Arts. Brill.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  7. Robert Michael Brain (2008). The Pulse of Modernism: Experimental Physiology and Aesthetic Avant-Gardes Circa 1900. Studies in History and Philosophy of Science Part A 39 (3):393-417.
    When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ and (...)
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  8. Nicolas J. Bullot & Rolf Reber (2013). The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation. Behavioral and Brain Sciences 36 (2):123-180.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  9. Giuseppe Caglioti (1994). Ambiguity in Art and Science. World Futures 40 (1):63-74.
    All processes of measurement imply symmetry?breaking. Ambiguity is the coexistence of mutually incompatible aspects of the same structure. There are many examples of analogy and symmetry breaking in nature and in culture.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  10. Arturo Campos Lleó (1995). Ortega ante el paisaje, o la puesta en práctica de una estética fenomenológica / Ortega Facing the Landscape The Putting into Practice of a Phenomenological Aesthetics. Logos 29:201-222.
    Remove from this list |
    Translate to English
    | Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  11. Jonathan Owen Clark & Taku Ando (2014). Geometry, Embodied Cognition and Choreographic Praxis. International Journal of Performance Arts and Digital Media 10 (2):179-192.
    A common approach to movement creation amongst contemporary choreographers involves dancers being asked to create movement in response to instructions that require them to form mental images, and then to make decisions in response to the internal feedback loops these images generate. The formation of these images is also facilitated in many cases by the use of digital technologies, via data representation and visualization. This article explores connections between technology, choreographic praxis, cognitive science and related topics in the philosophy of (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  12. Tom Cochrane (2010). Music, Emotions and the Influence of the Cognitive Sciences. Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  13. Jean-Pierre Cometti (2015). Making the Difference: John Dewey and the Naturalization of Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):123-134.
    The “Neuronal man”, as Changeux has called him, is now credited with an aesthetic mind. This mind is not the “Geist” of the philosophical tradition. The cognitive sciences have took over from philosophy and now they deal with art and aesthetics as they do with whatever aspect of human thought, experience and activity. Philosophers like Kant were interested in the empirical sources of beauty, but for him empirical features of its development did not change anything at all to its very (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  14. Adam M. Croom (2014). Auditory Neuroscience: Making Sense of Sound. Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 18:1-3.
  15. Emily Cross & Luca Ticini (2012). Neuroaesthetics and Beyond: New Horizons in Applying the Science of the Brain to the Art of Dance. [REVIEW] Phenomenology and the Cognitive Sciences 11 (1):5-16.
    Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists (...)
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  16. Gerald C. Cupchik & János László (eds.) (1992). Emerging Visions of the Aesthetic Process: Psychology, Semiology, and Philosophy. Cambridge University Press.
    This book is about aesthetic processes and play from the perspectives of psychologists, philosophers, and semiologists. They explore the underlying processes from many viewpoints, including the prehistoric roots of language and art; the historical evolution of artistic, literary, and musical styles; the structure of artworks from both gestalt and semiotic perspectives; the biological and psychological processes underlying production and appreciation; the appeal of sentimental art; emotional responses to art and other aesthetic forms; personality in relation to artistic style; the testing (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  17. Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.) (2014). Aesthetics and the Sciences of Mind. Oup Oxford.
    How far should philosophical accounts of the value and interpretation of art be sensitive to the scientific approaches used by psychologists, sociologists, and evolutionary thinkers? A team of experts urge different answers to this question, and explore how empirical inquiry can shed light on problems traditionally regarded as philosophical.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  18. Gregory Currie (1995). Imagination as Simulation: Aesthetics Meets Cognitive Science. In Martin Davies & Tony Stone (eds.), Mental Simulation. Blackwell.
  19. Stephen J. Davies (2005). Ellen Dissanayake's Evolutionary Aesthetic. Biology and Philosophy 20 (2-3):291-304.
    Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I make (...)
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  20. Stephen Davies & Peter Goldie, Cross-Cultural Musical Expressiveness: Theory and the Empirical Programme.
    In sections I-VII of this chapter I outline the theoretical background for a research programme considering whether the expressiveness of a culture’s music can be recognised by people from different musical cultures, that is, by people whose music is syntactically and structurally distinct from that of the target culture. In sections VIII-IX, I examine and assess the cross-cultural studies that have been undertaken by psychologists. Most of these studies are compromised by methodological inadequacies.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  21. Steven Davis (ed.) (2000). Color Perception: Philosophical, Psychological, Artistic, and Computational Perspectives. New York: Oxford University Press.
    Color has been studied for centuries, but has never been completely understood. Digital technology has recently sparked a burgeoning interdisciplinary interest in color. The fact that color is a quality of perception rather than a physical quality brings up a host of interesting questions of interest to both artists and scholars. This volume--the ninth in the Vancouver Studies in Cognitive Science series--brings together chapters by psychologists, philosophers, computer scientists, and artists to explore the nature of human color perception with the (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  22. John Dilworth (2008). The Propositional Challenge to Aesthetics. British Journal of Aesthetics 48 (2):115-144.
    It is generally accepted that Picasso might have used a different canvas as the vehicle for his painting Guernica, and also that the artwork Guernica itself necessarily represents a certain historical episode—rather than, say, a bowl of fruit. I argue that such a conjunctive acceptance entails a broadly propositional view of the nature of representational artworks. In addition, I argue—via a comprehensive examination of possible alternatives—that, perhaps surprisingly, there simply is no other available conjunctive view of the nature of representational (...)
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  23. John Dilworth (2005). A Double Content Theory of Artistic Representation. Journal of Aesthetics and Art Criticism 63 (3):249–260.
    The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...)
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  24. John Dilworth (2005). Reforming Indicated Type Theories. British Journal of Aesthetics 45 (1):11-31.
    There is some intuitive plausibility to the idea that composers create musical works by indicating sonic types in a historical context. But the idea is technically indefensible as it stands, requiring a thorough representational reform that also eliminates the type-theoretic commitments of current versions. On the reformed account, musical 'indication' is an operation of high level representational interpretation of concrete sounds, that can both explain the creativity of composers, and the often successful interpretations of their listeners. This approach also bypasses (...)
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  25. John Dilworth (2002). Theater, Representation, Types and Interpretation. American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  26. Ellen Dissanayake (2015). Aesthetic Primitives”: Fundamental Biological Elements of a Naturalistic Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):6-24.
    Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, suggesting that (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  27. Roberta Dreon (2015). Shared Aesthetic Starting Points? Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):53-69.
    Are there any theoretical resources – conceptual, lexical or argumentative ones – in the interdisciplinary debate on the evolutionary origins of the arts that can help us go beyond the traditional autonomistic conception of art, in favour of a more continuist and inclusive interpretation of human artistic practices? The paper examines the different voices in the debate, against the background of a cultural naturalist attitude inspired by John Dewey, by focusing on those contributions which can be interpreted in non-reductionist, anti-foundationalist (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  28. Denis Dutton (2009). The Art Instinct: Beauty, Pleasure, & Human Evolution. Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  29. Denis Dutton (2003). Aesthetics and Evolutionary Psychology. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  30. Arthur M. Edwards (1999). Images of Eden: An Enquiry Into the Psychology of Aesthetics. Distributed by Gazelle Book Services Ltd..
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  31. Shannon Foskett (2011). Echo Objects: The Cognitive Work of Images by Stafford, Barbara Maria. Journal of Aesthetics and Art Criticism 69 (2):249-251.
    Remove from this list | Direct download (9 more)  
     
    My bibliography  
     
    Export citation  
  32. Elio Franzini (2015). Phenomenology and Neuroaesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):135-145.
    Phenomenology is not the simple description of a fact, but rather the description of an intentional immanent moment, and it presents itself as a science of essences, and not of matter of facts. The Leib, the lived body of the phenomenological tradition, is not a generic corporeal reality, but rather an intentional subject, a transcendental reference point, on the base of which the connections between physical body and psychic body should be grasped. So, the reduction of empathy to mirror neurons (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  33. Roman Frigg & Catherine Howard, Fact and Fiction in the Neuropsychology of Art.
    The time honoured philosophical issue of how to resolve the mind/body problem has taken a more scientific turn of late. Instead of discussing issues of the soul and emotion and person and their reduction to a physical form, we now ask ourselves how well-understood cognitive and social concepts fit into the growing and changing field of neuropsychology. One of the many projects that have come out of this new scientific endeavour is Zaidel’s (2005) inquiry into the neuropsychological bases of art.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  34. John Gage (2008). Signs of Disharmony: Newton's Opticks and the Artists. Perspectives on Science 16 (4):pp. 360-377.
    Newton’s Opticks was in no way directed at artists, but the great prestige of its author, as well as its proposal of possible principles of color-harmony, and its establishment of the circle as the most graphic format for illustrating color-relationships, ensured the book a place in the repertory of coloristic art-theory from the eighteenth century until the present day. And, although it was implicit rather than explicit in the Opticks, the idea of complementarity continued to fascinate painters well into the (...)
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  35. Alejandro Garcia-Rivera, Mark Graves & Carl Neumann (2009). Beauty in the Living World. Zygon 44 (2):243-263.
    Almost all admit that there is beauty in the natural world. Many suspect that such beauty is more than an adornment of nature. Few in our contemporary world suggest that this beauty is an empirical principle of the natural world itself and instead relegate beauty to the eye and mind of the beholder. Guided by theological and scientific insight, the authors propose that such exclusion is no longer tenable, at least in the data of modern biology and in our view (...)
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  36. Jonathan Gilmore (2013). Normative and Scientific Approaches to the Understanding and Evaluation of Art. Behavioral and Brain Sciences 36 (02):144-145.
    The psycho-historical framework proposes that appreciators' responses to art vary as a function of their sensitivity to its historical dimensions. However, the explanatory power of that framework is limited insofar as it assimilates relevantly different kinds of appreciation and insofar as it eschews a normative account of when a response succeeds in qualifying as an appreciation of art qua art.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  37. George Haines (1943). Art Forms and Science Concepts. Journal of Philosophy 40 (18):482-491.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  38. James R. Hamilton (2010). Narrative, Fiction, Imagination. In Pokorny Kotatko (ed.), Fictionality-Possibility-Reality.
    Hamilton argues that narratives engage our imaginations not so much by having us pretend the events they depict are true or present as by having us engage in a kind of anticipation of events to come. The idea is that the grasp of a narratively structured presentation is explained in very much the same way any sequence of events, considered as a sequence, is grasped.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  39. Deborah J. Haynes (1995). Bakhtin and the Visual Arts. Cambridge University Press.
    Bakhtin and the Visual Arts is the first book to assess the relevance of Mikhail Bakhtin's ideas as they relate to painting and sculpture. First published in the 1960s, Bakhtin's writings introduced the concepts of carnival and dialogue or dialogism, which have had significant impact in such diverse fields as literature and literary theory, philosophy, theology, biology, and psychology. In his four early aesthetic essays, written between 1919 and 1926, and before he began to focus on linguistic and literary categories, (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  40. William Hirstein (2013). Memories of Art. Behavioral and Brain Sciences 36 (2):146 - 147.
    Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that artworks express.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  41. W. B. Honey (1945). Science and the Creative Arts. London, Faber & Faber.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  42. P. J. Hughesdon (1918). The Relation Between Art and Science. Mind 27 (105):55-76.
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  43. John Hyman, Art and Neuroscience.
    1. I want to discuss a new area of scientific research called neuro-aesthetics, which is the study of art by neuroscientists. The most prominent champions of neuroaesthetics are V.S. Ramachandran and Semir Zeki, both of whom have both made ambitious claims about their work. Ramachandran says boldly that he has discovered “the key to understanding what art really is”, and that his theory of art can be tested by brain imaging experiments, although he does not describe these experiments, or explain (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  44. Amy Ione (2000). An Inquiry Into Paul Cezanne: The Role of the Artist in Studies of Perception and Consciousness. Journal of Consciousness Studies 7 (8):57-74.
    [opening paragraph]: An intriguing element of Paul Cezanne's legacy is that while he aligned his paintings with the classical Renaissance tradition of Western art, his innovative body of work ushered in a decisive break with the standards of that tradition in the twentieth century. The many ways in which Cezanne's representational system deviates from the pluralistic art of the twentieth century suggests that probing his allegiance to classicism offers a unique vantage point for studying visual art, perception, and consciousness. It (...)
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  45. Mark Jarzombek (2000). The Psychologizing of Modernity: Art, Architecture, and History. Cambridge University Press.
    In The Psychologizing of Modernity, Mark Jarzombek examines the impact of psychology on twentieth-century aesthetics. Analysing the interface between psychology, art history and avant-gardist practices, he also reflects on the longevity of the myth of aesthetic individuality as it infiltrated not only avant-garde art, but also history writing. The principal focus of this study is pre-World War II Germany, where theories of empathy and Entartung emerged; and post-war America, where artists, critics and historians gradually shifted from their reliance on psychology (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  46. Phil Jenkins (2008). The Artful Mind: Cognitive Science and the Riddle of Human Creativityedited by Turner, Mark. Journal of Aesthetics and Art Criticism 66 (3):319-321.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  47. Mark Johnson (2007). The Meaning of the Body: Aesthetics of Human Understanding. University of Chicago Press.
    The belief that the mind and the body are separate and that the mind is the source of all meaning has been a part of Western culture for centuries. Both philosophers and scientists have questioned this dualism, but their efforts have rarely converged. Many philosophers continue to rely on disembodied models of human thought, while scientists tend to reduce the complex process of thinking to a merely physical phenomenon. In The Meaning of the Body , Mark Johnson continues his pioneering (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  48. James Scott Johnston (2002). John Dewey and the Role of Scientific Method in Aesthetic Experience. Studies in Philosophy and Education 21 (1):1-15.
    In this paper I examine a controversy ongoingwithin current Deweyan philosophy of educationscholarship regarding the proper role and scopeof science in Dewey's concept of inquiry. Theside I take is nuanced. It is one that issensitive to the importance that Dewey attachesto science as the best method of solvingproblems, while also sensitive to thosestatements in Dewey that counter a wholesalereductivism of inquiry to scientific method. Iutilize Dewey's statements regarding the placeaccorded to inquiry in aesthetic experiences ascharacteristic of his method, as bestconceived.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  49. H. M. Kallen (1914). Value and Existence in Art and in Religion. Journal of Philosophy, Psychology and Scientific Methods 11 (10):264-276.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  50. V. K. Kantor (1977). The Interactions of Science and Art as a Sociocultural Problem. Russian Studies in Philosophy 16 (1):87-93.
    The debates now in progress about the interactions of science and art compel one involuntarily to recall that such discussions have been held more than once and were, a long time ago, perhaps no less heated. It suffices to cite virtually at random certain statements of Pisarev, for example , for us to see, as in a cloudy mirror, both today's advocates of scientism and the romantics of art. Does this mean that all we need is to bear in mind (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
1 — 50 / 112