Human aesthetic practices show a sensitivity to the ways that the appearance of an artefact manifests skills and other qualities of the maker. We investigate a possible origin for this kind of sensibility, locating it in the need for co-ordination of skill-transmission in the Acheulean stone tool culture. We argue that our narrative supports the idea that Acheulean agents were aesthetic agents. In line with this we offer what may seem an absurd comparison: between the Acheulean and the Quattrocento. In (...) making it we display some hidden complexity in human aesthetic responses to an artefact. We conclude with a brief review of rival explanations—biological and/or cultural—of how this skills-based sensibility became a regular feature of human aesthetic practices. (shrink)

Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers grant that it’s possible to appreciate artwork (...) on the basis of unconscious biases, then we never can be fully confident that our aesthetic judgment is undergirded by the intrinsic aesthetic properties of an artwork. Furthermore, if judgment on the basis of unconscious, external reasons cannot be ruled out, we cannot be confident that our aesthetic judgments are ‘correct’. I argue that Cutting’s research is just the tip of the iceberg regarding the extrinsic, unconscious factors that influence aesthetic judgment. Expectation bias formed via social influence and context greatly influence aesthetic judgments and are unavoidable: we inevitably form expectations based on all kinds of contextual cues independently of any actual exposure to the item in question. Such factors make it terribly difficult to be confident in our aesthetic judgments. Even if there are objective properties that mark out some items as aesthetically superior to others, we cannot be sure that our judgments are responding to those properties. (shrink)

Bullot & Reber (B&R) make a strong case for the role of causal reasoning in the appreciation of artwork. Although I agree that an artistic design stance is important for art appreciation, I suggest that it is a subset of a more general framework for evaluating artworks as the causal extensions of individuals, which includes inferences about the creator's mind, as well as more physical notions of essence.

The concept of authenticity plays an important role in how people reason about objects, other people, and themselves. However, despite a great deal of academic interest in this concept, to date, the precise meaning of the term, authenticity, has remained somewhat elusive. This paper reviews the various definitions of authenticity that have been proposed in the literature and identifies areas of convergence. We then outline a novel framework that organizes the existing definitions of authenticity along two key dimensions: describing the (...) type of entity that is evaluated and describing the source of information that is consulted. We argue that this convergence across a number of papers, and more importantly, across a number of domains, reflects significant progress in articulating the meaning of authenticity. We conclude by suggesting new avenues for research in this area, with particular attention toward psychological process. (shrink)

The concept of authenticity is central to how people value many different types of objects and yet there is considerable disagreement about how individuals evaluate authenticity or how the concept itself should be defined. This paper attempts to reconcile previous approaches by proposing a novel view of authenticity. Specifically, I draw upon past research on psychological essentialism and propose that when people evaluate the authenticity of objects, they do so by evaluating the extent to which the object embodies or reflects (...) a valued essence. I suggest that this explanation of authenticity provides an overarching framework that describes how people evaluate object authenticity across a variety of contexts and I report the results of three experiments that directly test the predictions made by this explanation. (shrink)

This paper examines people's reasoning about identity continuity and its relation to previous research on how people value one-of-a-kind artifacts, such as artwork. We propose that judgments about the continuity of artworks are related to judgments about the continuity of individual persons because art objects are seen as physical extensions of their creators. We report a reanalysis of previous data and the results of two new empirical studies that test this hypothesis. The first study demonstrates that the mere categorization of (...) an object as “art” versus “a tool” changes people's intuitions about the persistence of those objects over time. In a second study, we examine some conditions that may lead artworks to be thought of as different from other artifacts. These observations inform both current understanding of what makes some objects one-of-a-kind as well as broader questions regarding how people intuitively think about the persistence of human agents. (shrink)

This article argues that the so-called Charge from Psychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is applied. (...) Therefore, it is not inherently problematic that definitions do not fit empirical data: a normative definition need not reflect how people categorize items as art. In the end, this article shows the significance of empirical data for definitions of art. (shrink)

In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in the (...) categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: purpose either changed or retained; score either changed or retained; change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant. (shrink)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

People often assign ownership to the person who has invested labor into making an object (labor rule). However, labor usually improves objects and increases their value, and it has not been investigated whether these considerations underlie people's use of the labor rule. We presented participants with third-party ownership conflicts between an owner of materials and an artist who used the materials for some artwork. Experiment 1 revealed that participants were more likely to transfer ownership to the artist for low-value materials (...) than for high-value materials, and Experiment 2 showed that this effect was further moderated by the amount of effort the artist had invested. A third experiment confirmed that participants transferred ownership more often if the artist's labor had increased the value of the materials than when it had added no value. These findings suggest that considerations for value underlie ownership transfers following the investment of labor. (shrink)

Seminal work by Knobe, Prasada, and Newman (2013) distinguished a set of concepts, which they named “dual‐character concepts.” Unlike traditional concepts, they require two distinct criteria for determining category membership. For example, the prototypical dual‐character concept “artist” has both a concrete dimension of artistic skills, and an abstract dimension of aesthetic sensibility and values. Therefore, someone can be a good artist on the concrete dimension but not truly an artist on the abstract dimension. Does this analysis capture people's understanding of (...) cornerstone social categories, such as gender, around which society and everyday life have traditionally been organized? Gender, too, may be conceived as having not only a concrete dimension but also a distinct dimension of abstract norms and values. As with dual‐character concepts, violations of abstract norms and values may result in someone being judged as not truly a man/woman. Here, we provide the first empirical assessment of applying the dual‐character framework to people's conception of gender. We found that, on some measures that primarily relied on metalinguistic cues, gender concepts did indeed resemble dual‐character concepts. However, on other measures that depicted transgressions of traditional gender norms, neither “man” nor “woman” appeared dual‐character‐like, in that participants did not disqualify people from being truly a man or truly a woman. In a series of follow‐up studies, we examined whether moral norms have come to replace gender role norms for the abstract dimension. Implications for the evolution of concepts and categories are explored. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

This article uncovers an important yet overlooked antecedent of brand ethicality that lies beyond the predominant focus on environmental and social actions in the literature: perceived brand authenticity. Perceived authenticity and brand ethicality strongly drive consumer decision making, but the link between the two has not been closely scrutinized. This article examines how two types of authenticity cues differently influence consumers’ perceptions of brand ethicality. Across five studies and four different product categories, the findings show that indexical authenticity cues lead (...) to greater perceived brand ethicality than iconic authenticity cues. The underlying mechanism is that indexical authenticity cues prompt people to perceive that a product is made with more effort; this increases their perception that it is crafted with love, which then enhances their perception of brand ethicality. The findings also indicate that lower perceived brand ethicality when using iconic authentic cues can be offset by the notion that developing the product involved intense effort. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences related to ordinary objects and everyday contexts. Here, we follow an ecological approach assuming that art experience has its own specific quality that is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidences gained in this manner, we emulate (...) and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large scale paintings by Pollock and Rothko preferred viewing distances as well as distances inducing most intense art experiences including Aesthetic Aha insights were much larger than typical viewing distances realized in lab studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts), enables us to understand and investigate much closer what is really happening when people experience art. (shrink)

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 (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain (...) why many experimental studies do not belong to a psycho-historical science of art. (shrink)

Visiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had travelled to see a painting that they particularly like. They discover that it is impossible to directly see the original painting. Three alternatives are offered: seeing an optical reflection (using a mirror), seeing (...) a video screening (a closed-circuit camera) or seeing a reproduction. In all cases it is made clear that the size, brightness, and resolution will match that of the original. In addition, these options could be within the same room as the original, in the room next door, or in a different building. Results show that physical distance did not affect significantly the responses. However, there was an overall preference for seeing a reproduction as opposed to an optical or digital image. Contrary to the idea that the original is always superior to a copy, many people felt that a direct view of a copy is a preferable experience than an indirect view. The second study was focused directly on the comparison between a mirror and a monitor. Here we highlighted the fact that for the mirror light coming from the mirror originated from the painting. Data were collected in Britain and in China. In both cases there was a clear preference for the mirror over the monitor. (shrink)

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint (...) concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece and a non-patriotic piece. Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible. (shrink)

The aim of this paper is to observe the evolution and evaluate the 'realness' and authenticity in Anatomy Art, an art form I define as one which incorporates accurate anatomical representations of the human body with artistic expression. I examine the art of 17th century wax anatomical models, the preservations of Frederik Ruysch, and Gunther von Hagens' Body Worlds plastinates, giving consideration to authenticity of both body and art. I give extra consideration to the works of Body Worlds since the (...) exhibit creator believes he has created anatomical specimens with more educational value and bodily authenticity than ever before. Ultimately, I argue that von Hagens fails to offer Anatomy Art 'real human bodies,' and that the lack of bodily authenticity of his plastinates results in his creations being less pedagogic than he claims. (shrink)

In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...) willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)

In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...) self-same impacts profile the mental health challenges identified in relation to pandemic isolation, art may be useful in mitigating mental health issues associated with lockdown. This paper does not address how the role art can play in the therapeutic mix for serious mental health disorders. More specifically it is focused on a narrower brief of ills – predominantly those associated with boredom and a loss of stimulation associated with the constrained circumstances of lockdown. The kind of ‘art therapy’ this paper has in mind is more accurately described as ‘art engagement’ as it concerns individuals actively engaging with art. Art engagement is taken as self-administered utilising the time-out imposed by lockdown as an opportunity to take stock and reset. I will argue that to be of optimal benefit to people in lockdown, the art engagement model should support art practices that are easily accessible to a wide range of people, and be broadly scoped regarding areas to explore. Finally, because the benefits flowing from art engagement are central to this quest, our art engagement model will need to be able to track how art enriches or impoverishes its practitioners. This paper will set up a framework for art engagement that provides an apt account of art practices suited to people in lockdown. I will examine how the resolution of two art puzzles point the way forward in developing an art engagement model. Adventitiously, understanding these puzzles will also prove useful for art making in constrained living arrangements. Managing the first of these puzzles requires a rejection of the notion that art can be determinately defined. Instead we opt for a model that privileges practices and products that enrich the lives of practitioners. The second puzzle assumes creativity relies to varying degrees on appropriation and so appropriation acts need to be included in the model. However, this comes at a cost. Appropriation disrupts any notion that art works are stable things situated forever in the realm of art. It will be shown that appropriation causes us to adopt a more expansive view about the fluidity of what counts as an artwork. This fluidity may take us into and out of the realm of what is traditionally thought of as ‘art’ entirely and leads us to abandon any dependency on art masters and art institutions in our artmaking quests. The paper will conclude by using the model described to outline three art engagement examples that demonstrate how sometimes ordinary everyday experiences can be enriched by taking an art-engaging stance even in the highly constrained environment of lockdown. (shrink)