David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Biology and Philosophy 20 (2-3):291-304 (2005)
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 three criticisms: Dissanayake’s theory cannot account adequately for differences in the aesthetic value of artworks; the connections drawn between art and reproductive success are too stretched to account for art's production, nature, and reception; indeed, art enters the picture only because it is so thinly characterized that it remains in doubt that her topic is art as we understand it.
|Keywords||Adaptation Aesthetic Art Community Dissanayake ‘Making special’ Mutuality Play Ritual Value|
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References found in this work BETA
Larry Shiner (2003). The Invention of Art: A Cultural History. Journal of Aesthetics and Art Criticism 61 (4):401-403.
Ellen Dissanayake (1998). Komar and Melamid Discover Pleistocene Taste. Philosophy and Literature 22 (2):486-496.
Ellen Dissanayake (2004). Art and Intimacy: How the Arts Began. Journal of Aesthetics and Art Criticism 62 (1):69-71.
Ellen Dissanayake (1993). Homo Aestheticus Where Art Comes From and Why. Monograph Collection (Matt - Pseudo).
Ellen Dissanayake (1989). What Is Art For? Journal of Aesthetics and Art Criticism 47 (4):392-393.
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