‘다중양상성’은 다양한 맥락에서 상이한 의미로 이해된다. 이 글에서 ‘다중양상성’은 음악의 미적 경험에서 지각과 의식이 신경 토대 연결망을 통해 인지적으로 동기화(synchronization)되는 방식을 가리킨다. 이 과정을 도식적으로 말하면, 우선 시각, 청각, 촉각 등 다양한 감각 자료들이 뇌의 피질 안에 분산된 전문 모듈들에 의해 신경적으로 처리‧저장된다. 심적 상태가 생물학적으로 저장되는 것이다. 이후 어떤 시점에서, 주체가 음악의 특수한 청각적 국면에 주목할 때 비청각적인 신경적 자료들은 활성화되어 중앙 의식에 합류한다. 즉 중앙 의식의 요구에 부응하여 생물학적 데이터가 심적 상태로 변환되고 현재화되며, 이에 따라 주체의 청각 경험은 (...) 상이한 지각 양상들과 앙상블을 이룬다. 이 단계에서 기억과 사고가 참여하여 주도적으로 서사적 해석을 구성할 수도 있으나 이것은 주체의 관심사에 달린 문제이다.BR 본 논의의 직접적인 초점은 음악에 있지만, 다중양상성 논제는 예술 일반에 확대 적용될 수 있다. 왜냐하면, 첫째로, 다중양상성 논제는 매체 지각의 다양성을 뜻하는 것이 아니라 예술 감상자가 작품 전체의 형식으로서 투사하는, 자기 표상적인 의식에 다름 아니기 때문이다. 둘째로, 예술 감상자가 미적 주목을 통해 가상적으로 투사하는 통합적인 작품 형식은 그가 현재 의식적으로 주목하는 작품의 지각적 면모들뿐만 아니라, 그 자료들을 추상하여 전체 형식으로 구성하는 과정에 개입하는 상이한 양태의 ‘지각 흔적’들과 개념적 사고틀이 산출하는 다중양상적 앙상블이기 때문이다. 이렇게 인지적으로 동기화된 앙상블을 가능하게 하는 것은 다름 아니라 의식 아래 차원에서 작동하는 다양한 지각 모듈들과 그것들을 연결해주는 비의식적인 신경 연결망이다. 따라서 비록 ‘신경미학’이 고차적 사고, 지향성, 예술사적 지식 등이 어떻게 예술 경험에 관여하는지를 직접 설명하기 어렵지만, 적어도 신경 토대가 어떻게 미적 경험의 대상인 자기 표상적 의식의 형성을 가능하게 하는지를 보여줄 수 있다. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception (...) 2.0 : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

The Aesthetic Animal answers the ultimate questions of why we adorn ourselves, embellish our things and surroundings, and produce art, music, song, dance and fiction. It is written in a lively and entertaining tone, with beautiful color illustrations. This must-read presents an original and comprehensive synthesis of the empirical field, synthesizing data from archeology, cave art, anthropology, biology, evolutionary psychology and neuro-aesthetics.

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] of Art is an engaging collection of essays that covers a broad spectrum of topics, ranging from the philosophy of literature to neuro-aesthetics. Emerging sporadically over the course of 20 years, the stand-alone essays that comprise this volume display little evidence of a sustained, systematic thesis. But this is part (...) of what constitutes the book’s principal charm. Each chapter handles its respective subject with its own methodology, rhetorical mood and degree of rigour. Holt describes the thematic link among his essays as ‘the concept of meaning: what it means to make art, how the meanings we attach to artworks and interpretation shape our appreciation, the nature and value of aesthetic experience, and ultimately the definition of art itself’. It is questionable... (shrink)

The present contribution is mainly intended to illustrate how some recent discoveries in the field of neurosciences have revolutionized our ideas about perception, action and cognition, and how these new neuro-scientific perspectives can shed light on the human relationship to art and aesthetics, in the frame of an approach known as "experimental aesthetics". Experimental aesthetics addresses the problem of artistic images by investigating the brain-body physiological correlates of the aesthetic experience and human creativity, providing a perspective (...) that is complementary, and not in opposition, to the humanistic one on the arts and the aesthetic. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, (...) which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

Among the book's arguments: Aesthetic property relativism, as described by Alan Goldman, requires subjects to make judgments based on prima facie preferences for determinable properties (eg being curved, being blue). These judgments are not bona fide because they do not require acquaintance with objects. Value concepts and aesthetic (thick) concepts relate contingently. We can be aesthetic property realists, or quasi-realists, without being aesthetic value realists. Contains epistemological arguments against neuro-aesthetics (Ramachandran), aesthetic sense theory (Hutcheson), physiological theories (Burke), and (...) Hume's realism. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

As the editors of the series, New Literary Theory, proclaim in the preface of the book, the purpose of the series is to make more room in literary theory for playful and accessible approaches to li...

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 what results the theory predicts (Ramachandran and Hirstein 1999, 17). Zeki, who originally coined the term “neuro-aesthetics”, claims to have laid the foundations for understanding “the biological basis of aesthetic experience”, and to have formulated a “neurobiological definition of art” (Zeki 1999, 2, 22). If these claims are true, we are at the dawn of a new age in the study of art. Up to now, most of the people studying art have been historians, some of whom can read Latin, but hardly any of whom have mastered even the rudiments of brain science. And aesthetics has been in the hands of philosophers, who still disagree among themselves about ideas that were stated in the fourth century BC. Neuroaesthetics is different. As Ramachandran (2000, 19) says: “These ideas have the advantage that, unlike the vague notions of philosophers and art historians, they can be tested experimentally”. So, is neuro-aesthetics the next big thing? I want to assess its prospects, starting with Ramachandran. (shrink)

Recent years have seen a rapid growth in neuroscientific research, and an expansion beyond basic research to incorporate elements of the arts, humanities and social sciences. It has been suggested that the neurosciences will bring about major transformations in the understanding of ourselves, our culture and our society. In academia one finds debates within psychology, philosophy and literature about the implications of developments within the neurosciences, and the emerging fields of educational neuroscience, neuro-economics, and neuro-aesthetics also bear (...) witness to a 'neurological turn' which is currently taking place. Neuroscience and Critique is a ground-breaking edited collection which reflects on the impact of neuroscience in contemporary social science and the humanities. It is the first book to consider possibilities for a critique of the theories, practices, and implications of contemporary neuroscience. Bringing together leading scholars from several disciplines, the contributors draw upon a range of perspectives, including cognitive neuroscience, critical philosophy, psychoanalysis, and feminism, and also critically examine several key ideas in contemporary neuroscience, including: The idea of "neural personhood" Theories of emotion in affective neuroscience Empathy, intersubjectivity and the notion of "embodied simulation" The concept of an "emo-rational" actor within neuro-economics. The volume will stimulate further debate in the emerging field of interdisciplinary studies in neuroscience, and will appeal to researchers and advanced students in a range of disciplines including critical psychology, philosophy, and critical studies. (shrink)

The late vision theorist David Marr identified three levels of explanation that he argued needed to be addressed in order to understand vision : (i) the psychological, functional or computational level of processes; (ii) the physical or neurological which is the level of explanation employed by Zeki; and (iii) the algorithmic – the level of implementation. For Zeki’s purpose of drawing upon vision-theory in order to better understand art and aesthetics, there is no need to focus on the third (...) level. I would argue however that in order to draw upon brain science to understand art, the first two levels of explanation are necessary. (shrink)

The continual possibility of aesthetic experience throughout history has prompted philosophical reflections about its nature and meaning in human life. This article outlines some neuroscientific ways of understanding its functioning, focusing specifically on Susanne Langer’s contribution. Commonly subsumed under the heading ‘philosophy of mind’ – especially due to the trilogy Mind: An Essay on Human Feeling – Langer’s interests in the human mind developed already in the 1950s, as witnessed by the paper The Deepening Mind. A Half-Century of American Philosophy. (...) Following these lines, the article discusses Langer’s philosophical approach from the perspective of a (neuro)aesthetic inquiry, emphasizing particularly the importance of the non-discursive realm of the mind. It also shows how Langer’s account might be seen as going beyond that of John Dewey, which is often referred to as an advancement in the historical development of neuroaesthetics. (shrink)

The continual possibility of aesthetic experience throughout history has prompted philosophical reflections about its nature and meaning in human life. This article outlines some neuroscientific ways of understanding its functioning, focusing specifically on Susanne Langer’s contribution. Commonly subsumed under the heading ‘philosophy of mind’ – especially due to the trilogy Mind: An Essay on Human Feeling – Langer’s interests in the human mind developed already in the 1950s, as witnessed by the paper The Deepening Mind. A Half-Century of American Philosophy. (...) Following these lines, the article discusses Langer’s philosophical approach from the perspective of a (neuro)aesthetic inquiry, emphasizing particularly the importance of the non-discursive realm of the mind. It also shows how Langer’s account might be seen as going beyond that of John Dewey, which is often referred to as an advancement in the historical development of neuroaesthetics. (shrink)

In the last decade, we have observed a continuous increase of interest in eye movement research. According to a recent investigation, eye movements are discussed in over one million publications. The number of publications with eye movement in the title or abstract has been steadily increasing over the years, with over 1,200 papers published alone in 2013. The last decade has also witnessed the emergence of many new sub-disciplines in the field of neuroscience and cognition - one of them is (...) neuroaesthetics, which refers to the [neuro-]science of aesthetic perception of art.The title and contents of our book have been inspired by a very influential research article. It is one of the most cited scientific papers of all time, published in 1959 by a team of neurophysiologists and engineers, Lettvin, McCulloch and Pitts who are considered to be the founders of modern cybernetics. Their article, "What the Frog's Eye Tells the Frog's Brain," refers to the role of internal cortical models in the communication or interfacing of the information in the outside world with the practical contextual task of the viewer. It shows how eye movements are the modality of this communication. The same duality between eye movements and internal models plays a fundamental role in humans. When we look, for example, at art, it explains those neurological processes involved in neuroaesthetics. Our book undertakes this innovative approach to neuroaesthetics. It explains this duality and discusses the communication between the artist and the viewer's aesthetic perception. It is structured into five chapters.Chapter One discusses the neurology of aesthetics, the idea of art as a form of communication, and explains perception as an active matching between a "top" (the viewer's mind) and a "down" (the viewer's sensorial machinery). It goes deep into the philosophical quandary of what beauty is in terms of art. Chapter Two is about eye movements and the scanpath theory of vision perception. It discusses the role of visual attention for controlling active vision, the meaning of mental binding and the analysis of eye movements as the key to understanding aesthetic processes. Chapter Three introduces Claude Shannon's information theory using it as a matrix into which to embed the top down active vision scanpath theory. The authors explain the main concept of neuroaesthetics as a form of communication mediated by the sequence of eye fixations. Chapter Four discusses art critique: The role of the viewer's training and expectation, the dilemma of the aesthetics of art versus non-art and how all of this affects the viewing mode. Finally, Chapter Five treats the intimacy of the artistic process, showing the unique implementation of the communicative experience between the artist and the viewer - the relation between a pictorial representation defined by the artist and modes of AWE generated in the viewer during active looking. (shrink)

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 (...) amounts to an “objectivisation”, with the consequent absolutisation of a process that is a function of the Leib as intentional subject, not as a physical reality. The main task of the philosophical research, bracketed by the new “neuro” researches, thus emphasizing their theoretical limits as soon as they depart from experimental enquiries, is then to understand the conditions of possibility of cognitive procedures, that is to say, in other words, the genesis of consciousness, that in aesthetics becomes “the genesis of aesthetic consciousness”. Interdisciplinarity is already an ancient and out of fashion word, now it is the time of “dialogue”, being aware however that the “logoi” not always require synthesis, and that the unity of the corporeal reality implies, as Husserl emphasizes, very different descriptive behaviours. (shrink)

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view (...) that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

Recent publications on Alfred Schutz suggest the importance of his musical thought for understanding his general viewpoint on intersubjectivity. Developing this proposition further, my article focuses on one aspect of Schutz’s writings on music: his attempts to amalgamate the aesthetic oppositions of the Dionysian/Apollonian by Friedrich Nietzsche and inner duration/spatialized time by Henri Bergson. Despite the seeming distortion of the initial meaning of the Dionysian impulse, I suggest that Schutz’s employment remains faithful to the aesthetic and cognitive theory of early (...) Nietzsche. To substantiate this, I draw a link between Nietzsche’s early theory of aesthetic cognition and the neurophysiology of the mid-nineteenth century. Furthermore, the way Schutz applied the Dionysian/Apollonian opposition to the problem of musical communication made his musical thought prefigure some neuro-scientifically inspired discussions of the present-day, like the one on joint attention. Schutz tackled the key paradox: why the experience of music can be shared but not directly communicated. (shrink)

Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...) Die Überlegung, wer in welcher Situation warum was bevorzugt, führt zur Forschungsfrage: »Was ist der elementare Mechanismus für eine ästhetische Erfahrung?« In der Literatur zur empirischen Ästhetik finden sich vier wesentliche Theorie-Gruppen: (1.) Es wird eine Präferenz für einfach zu verarbeitende Stimuli behauptet und z.B. mit der Processing Fluency begründet. (2.) Andere Ansätze erklären eine maximale Stimulation des Beobachters durch komplexe Objekte zum Ideal, was auch die ästhetische Erfahrung maximieren soll. (3.) Eine dritte Gruppe vermeidet die Probleme der ersten beiden, indem eine mittlere Komplexität als Präferenz behauptet wird. (4.) Und schließlich gibt es Ansätze, die auf eine integrierende Theorie letztlich verzichten und einzelne Phänomene bzw. Effekte katalogisieren. Eine Liste ungelöster Probleme formuliert die Minimal-Anforderungen an eine integrierende Theorie. Hiermit wird geprüft, ob bzw. inwieweit die Integrative Ästhetik von Schwarzfischer (2008 und 2014) jene Probleme lösen kann. Dieser Ansatz schlägt spezifische Re-Codierungs-Prozesse als basalen Mechanismus jeder ästhetischen Erfahrung vor. Hierzu wird ein Prozess-Modell entwickelt, welches die Integrative Ästhetik überprüfbar macht. Bei der Modellbildung werden manche Konzepte der Integrativen Ästhetik erweitert und andere präzisiert. Auch die Anwendungsmöglichkeiten werden durch das Modell vielfältiger, da es nicht nur als Erklärungsmodell, sondern zudem als Gestaltungsmodell einsetzbar ist. Insgesamt zeigt die Überprüfung der Integrativen Ästhetik und des Modells, dass die Gütekriterien in einem vielversprechenden Maß erfüllt werden. Die grundsätzliche Quantifizierbarkeit wird aufgezeigt sowie die Relevanz und die Anwendbarkeit für das Design nachgewiesen. Die Forschungsfrage kann somit als hinreichend beantwortet gelten: »Der elementare Mechanismus für eine ästhetische Erfahrung scheint ein Re-Codierungs-Prozess zu sein (der auf der Nutzung von In­varianzen basiert), welcher extensionale Daten zu intensionalen Gestalten transformiert, wobei eine Ressourcen-Entlastung stattfindet und der Gültigkeitsbereich der Codierung erweitert wird (was nach Jean Piaget als Dezentrierung bezeichnet wird) – was jeweils durch eine ‚Beobachtung zweiter Ordnung‘ festgestellt wird.« -/- Teil II »Transdisziplinäre Ästhetik im Dialog« -/- Kapitel II.A »Profane und heroische Beobachtungs-Experimente: Kunst-Ästhetik als methodisches Artefakt.« -/- Es reicht nicht, eine Liste mit vorgeblich ‚schönen Dingen‘ zu erstellen, um ‚das Schöne‘ zu verstehen. Piaget & Garcia (1989) unterscheiden drei Stufen in jedem Erkenntnis-Prozess: 1. isolierte Fakten, die unabhängig von einander analysiert werden; 2. konkrete Transformationen, durch welche diese Fakten mit einander verbunden sind; 3. eine Struktur, die alle denkbaren Fälle konstruierbar macht. Sie nannten diese drei Stufen ‚intra‘, ‚inter‘ und ‚trans‘. Dies kann auf das ‚höhere Erkenntnisvermögen‘ angewandt werden wie auf das ‚niedere‘. Wissenschaftlichkeit setzt nach Popper die Falsifizierbarkeit einer Theorie voraus – und damit Prognosefähigkeit. Prognosen müssen über den Bereich der bereits bekannten Fälle hinausgehen, und finden sich folglich primär in der Piaget-Phase ‚trans‘. Diese ist davon gekennzeichnet, dass es über die Gegenstände hinausgeht (‚trans-objekt‘). Zu häufig werden Artefakte nur beschrieben (‚intra-objekt‘) oder einzelne, zufällig bekannte Transformationen von Material in Artefakte bzw. von Artefakt in Verständnis aufgezählt (‚inter-objekt‘). Erst eine ‚Integrative Ästhetik‘ jenseits von zufälligen Semantiken, jenseits von sozialen Exklusions-Rhetoriken der Künstler und der ‚Leisure-Class-Eliten‘ (nach Veblen) und jenseits der Hierarchisierung von Wahrnehmungs-Modi kann den Anspruch einlösen (‚trans-objekt‘). Daraus folgen u.a. separierbare Semantiken spezifischem Maßstabs, die sich überhaupt erst dann z.B. als ‚konventionelle Kunst-Auffassung‘ beobachten lassen. Zentrierungen auf solche Semantiken können demnach „als Kunst missverstanden werden“ – obwohl sie keineswegs das allgemeine Prinzip repräsentieren, sondern stets nur Spezial­fall bleiben. -/- Kapitel II.B »Das Gehirn als Hypothesenmaschine – Ästhetische Prozesse als Selbst-Test im Beobachter-System.« -/- Die historische Trennung zwischen Techne, Poiesis und Aisthesis scheint nach der „konstruktivistischen Wende“ obsolet geworden zu sein. Jede Beobachtung kann als Handlung betrachtet werden und setzt adaptive Aspekte schon voraus. Jedoch fehlte bislang eine tragfähige konstruktivistische Ästhetik, deren Gültigkeitsbereich hinreichend groß ist: So ist die Beschränkung auf Kunst ebenso unnötig wie jene auf Kommunikation in sozialen Systemen (also auf „Kunst-Diskurse“) oder auf eine Produktions-, Werk- bzw. Rezeptions-Ästhetik. Die definitorische Auflösung des Kunst-Begriffes (z.B. bei Gernot Böhme) löst diese Schwierigkeiten nicht. Im Wesentlichen bleibt die resultierende phänomenologische Ästhetik eine Rezeptions-Ästhetik. Ähnlich begrenzt bleibt der Anwendungsbereich der Informations-Ästhetik mit kybernetischen Wurzeln. Auch die Einbettung in eine evolutionäre Ästhetik oder Neuroästhetik scheint problematisch. Daher muss eine „Integrative Ästhetik“ sehr unterschiedliche Sichtweisen in sich vereinigen. Inzwischen klassisch zu nennende kybernetische, systemtheoretische oder informations-ästhetische Ansätze verwenden meist die Logik einer Bottom-Up-Verarbeitung (Input-Processing-Output), wie sie auch die kognitive Psychologie der zweiten Hälfte des 20. Jahrhunderts dominierte. Dass laut Schlicht et al. (2013: S.475) selbst im visuellen Kortex nur ca. 5% der neuronalen Verknüpfungen bottom-up verschaltet sind (und der „Rest” von 95% top-down oder lateral arbeitet), stellt auch die empirische Ästhetik vor Probleme. Dieser Beitrag stellt jene Integrative Ästhetik vor, welche diese Antworten auf diese Fragen zu geben vermag – und den genannten Beschränkungen nicht unterliegt. Der elementare Prozess einer ästhetischen Erfahrung besteht hier in einer Re-Codierung von extensionalen Daten zu intensionalen Codierungen. Durch die sparsamere Codierung stellt dies eine erhebliche neuronale Entlastung dar und erhöht zudem beträchtlich den Gültigkeitsbereich des Codierten. Vom Beobachter-System wird dies subjektiv als Dezentrierung (nach Piaget) positiv erlebt. Zentral ist, dass es nun mit einem einheitlichen methodischen Rahmen möglich ist, entweder bottom-up die Wahrnehmung zu analysieren oder top-down die subjektive Motivation (z.B. die erlebte Autonomie oder die erlebte Entlastung) des Akteurs zu thematisieren. Die Richtung der Prozesse wird umkehrbar. Zudem wird die konstruktivistische Wahrnehmungs-Handlung zu einer Art von Selbst-Test des Wahrnehmungs-Systems: „Funktioniere ich sensorisch und kognitiv überhaupt? Funktioniere ich korrekt, also konsistent? Und, funktioniere ich effizient?“ -/- Kapitel II.C »Beobachtende Systeme – Dezentrierende Gestalt-Integration als Basis einer Ästhetik des Alltags.« -/- An der ästhetischen Erfahrung irritiert traditionell, dass der Effekt bekannt ist, nicht aber die Ursachen und der funktionale Mechanismus. Dies leistete Mystifikationen Vorschub, was zu diversen metaphysischen Kunst-Ästhetiken führte: Der Künstler als Schamane oder Magier. Dieser Beitrag möchte dagegen einen systemsemiotischen Ansatz für eine empirische Ästhetik vorstellen. Die aktive Rolle des Beobachters im Wirkungszusammenhang soll den Blinden Fleck erhellen, aufgrund dessen sich das Phantom eines passiven Rezipienten und „quasi-aktiver“ ästhetischer Objekte so hartnäckig halten konnte. Ausgehend von gestalttheoretischen Überlegungen wird Gestalt als implizite, algorithmische Codierung begriffen. Neuere empirische Ergebnisse der „Neuro-Ökonomie“ postulieren einen Effekt der „kortikalen Entlastung“ (bei der Forschung nach der Wirkung von Marken). Der hier vertretene Ansatz verknüpft nun beide Aspekte und glaubt, daraus eine konsistente Theorie für die empirische Ästhetik des Alltags entwickeln zu können. Es muss jedoch ein weiterer Aspekt hinzu genommen werden, den Piaget „Dezentrierung“ nennt. Ästhetische Erfahrung wird dann definierbar als das Erlebnis eines Umcodierungs-Prozesses – oder genauer: als das Erlebnis einer dezentrierenden Gestalt-Integration durch das beobachtende System. Sowohl beobachtende Systeme als auch Gestalt-Integrationen sind in unserem Ansatz als multiple zu denken. Eine semiotische Differenzierung ist nun entscheidend: Die herkömmliche Informations-Ästhetik thematisierte nur die syntaktischen Aspekte des Stimulus, ohne den Beobachter in seiner aktiven Rolle zu begreifen. Gestalt-Integrationen samt deren dezentrierender Wirkung sind jedoch auch in semantischer und pragmatischer Hinsicht zu finden. Diese werden im Beitrag dargelegt. Denn erst so kann die Vielschichtigkeit ästhetischer Erfahrungen erklärt werden, wo z.B. syntaktische und pragmatische Aspekte konkurrieren können. Auch vordergründig destruktive Akte und Artefakte sind dann als Gestalt-Integrationen anderer Dimensionen oder differierender Bezugssysteme begreifbar. (Dies streift etwa auch Fragen der Ressourcen-Allokation.) Zudem muss die Kontingenz von Beobachtungs-Maßstäben, Wahrnehmungs-Modi, Struktur-Determinanten (des beobachtenden Systems) und kultur-semiotischen Prägungen mit in Betracht gezogen werden. Erst hierdurch wird der Möglichkeitsraum potenzieller Gestalt-Integrationen (der eigentlich aus einem präsentationalen und einem repräsentationalen Raum besteht) prinzipiell beschreibbar. Wenn auch die Probleme bzw. Grenzen der praktischen Durchführbarkeit entsprechender Analysen nicht unterschlagen werden sollen: Die Möglichkeiten entsprechen gut den Erfordernissen zur ästhetischen Analyse des menschlichen Alltages – schließen die Lebenswelten von nicht-anthropozentrischen Seinsformen aber wohl methodisch aus. Dieser Beitrag möchte ich primär eine empirische Ästhetik zur Diskussion stellen, die mir als Rahmen für die weitere Forschung sehr leistungsfähig erscheint. Und doch ist nichts weniger als ein theoriebildender Ansatz das Vorhaben. Eine der Konsequenzen aus diesem Ansatz ist die These, dass es sich bei Kants Diktum vom „interesselosen Wohlgefallen“ zwar für das Individuum um ein Apriori handelt, bei der Gattung Mensch jedoch evolutionär um ein Aposteriori. (shrink)

Despite recent breakthroughs in the field of artificial intelligence (AI) – or more specifically machine learning (ML) algorithms for object recognition and natural language processing – it seems to be the majority view that current AI approaches are still no real match for natural intelligence (NI). More importantly, philosophers have collected a long catalogue of features which imply that NI works differently from current AI not only in a gradual sense, but in a more substantial way: NI is closely related (...) to consciousness, intentionality and experiential features like qualia (the subjective contents of mental states)1 and allows for understanding (e.g., taking insight into causal relationships instead of ‘blindly’ relying on correlations), as well as aesthetical and ethical judgement beyond what we can put into (explicit or data-induced implicit) rules to program machines with. Additionally, Psychologists find NI to range from unconscious psychological processes to focused information processing, and from embodied and implicit cognition to ‘true’ agency and creativity. NI thus seems to transcend any neurobiological functionalism by operating on ‘bits of meaning’ instead of information in the sense of data, quite unlike both the ‘good old fashioned’, symbolic AI of the past, as well as the current wave of deep neural network based, ‘sub-symbolic’ AI, which both share the idea of thinking as (only) information processing: In symbolic AI, the name explicitly references to its formal system based, i.e. essentially rule-based, nature, but also sub-symbolic AI is (implicitly) rule-based, only now via globally parametrized, nested functions. In the following I propose an alternative view of NI as information processing plus ‘bundle pushing’, discuss an example which illustrates how bundle pushing can cut information processing short,and suggest first ideas for scientific experiments in neuro-biology and information theory as further investigations. (shrink)