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  1. S. Alexander (1926). Art and Science. Philosophy 1 (01):5-.
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  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.
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  3. Archie J. Bahm (1972). Is a Universal Science of Aesthetics Possible? Journal of Aesthetics and Art Criticism 31 (1):3-7.
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  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.
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  6. Noel Boulting (2006). On Interpretative Activity: A Peircian Approach to the Interpretation of Science, Technology, and the Arts. Brill.
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  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.
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  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 (...)
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  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.
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  10. 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 (...)
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  11. 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 (...)
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  12. 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 (...)
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  13. Greg Currie, Aaron Meskin, Matthew Kieran & Jon Robson (eds.) (forthcoming). Aesthetics and the Sciences of the Mind. Oxford University Press.
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  14. Gregory Currie (1995). Imagination as Simulation: Aesthetics Meets Cognitive Science. In Martin Davies & Tony Stone (eds.), Mental Simulation. Blackwell.
  15. 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 (...)
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  16. 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.
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  17. 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 (...)
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  18. 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 (...)
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  19. 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 (...)
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  20. 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 (...)
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  21. 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 (...)
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  22. 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.
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  23. Denis Dutton (2003). Aesthetics and Evolutionary Psychology. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
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  24. Arthur M. Edwards (1999). Images of Eden: An Enquiry Into the Psychology of Aesthetics. Distributed by Gazelle Book Services Ltd..
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  25. Shannon Foskett (2011). Echo Objects: The Cognitive Work of Images by Stafford, Barbara Maria. Journal of Aesthetics and Art Criticism 69 (2):249-251.
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  26. 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.
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  27. 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 (...)
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  28. 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 (...)
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  29. 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.
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  30. George Haines (1943). Art Forms and Science Concepts. Journal of Philosophy 40 (18):482-491.
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  31. 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.
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  32. 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, (...)
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  33. W. B. Honey (1945). Science and the Creative Arts. London, Faber & Faber.
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  34. P. J. Hughesdon (1918). The Relation Between Art and Science. Mind 27 (105):55-76.
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  35. 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 (...)
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  36. 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.
  37. 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 (...)
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  38. 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.
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  39. 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 (...)
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  40. 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.
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  41. H. M. Kallen (1914). Value and Existence in Art and in Religion. Journal of Philosophy, Psychology and Scientific Methods 11 (10):264-276.
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  42. V. K. Kantor (1977). The Interactions of Science and Art as a Sociocultural Problem. Russian Studies in Philosophy 16 (1):87-93.
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  43. Justine Kingsbury (2011). (R)Evolutionary Aesthetics: Denis Dutton's The Art Instinct: Beauty, Pleasure and Human Evolution. Biology and Philosophy 26 (1):141-150.
    Denis Dutton’s The Art Instinct succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems with (...)
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  44. Joachim H. Knoll (1968). Experiment and Experience in Science and Art. Philosophy and History 1 (2):196-198.
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  45. Vladimir Kouzminov (1994). Remarks on Art and Science. World Futures 40 (1):115-117.
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  46. Theo A. F. Kuipers (2002). Beauty, a Road to the Truth. Synthese 131 (3):291-328.
    In this article I give a naturalistic-cum-formal analysis of therelation between beauty, empirical success, and truth. The analysis is based on the onehand on a hypothetical variant of the so-called `mere-exposure effect'' which has been more orless established in experimental psychology regarding exposure-affect relationshipsin general and aesthetic appreciation in particular (Zajonc 1968; Temme 1983; Bornstein 1989;Ye 2000). On the other hand it is based on the formal theory of truthlikeness andtruth approximation as presented in my From Instrumentalism to Constructive Realism (...)
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  47. Federico Langer (2012). Mental Imagery, Emotion, and Literary Task Sets Clues Towards a Literary Neuroart. Journal of Consciousness Studies 19 (7-8):168-215.
  48. Ervin Laszlo (1994). The Alliance of Science and Art for Human Survival. World Futures 40 (1):105-110.
    The need for a holistic alliance is outlined to link new and progressive currents in science and art to face the common challenges that confront mankind at the turn of the century. Effort must be made to motivate scientists and artists to cultivate their social consciousness and create flexible teaching?learning?researching institutions where specialists can integrate emerging insights into usable foresights and communicate them to people in all fields of activity.
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  49. Robert S. Lehman (2011). Between the Science of the Sensible and the Philosophy of Art. Angelaki 15 (2):171-185.
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  50. H. D. Lewis (1946). Art and Scientific Thought. By Martin Johnson. (Faber and Faber. 1944.) Pp. 192. Price 16s. Philosophy 21 (79):167-.
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