Related categories

3 found
Order:
  1. The Aesthetic Value of the World.Tom Cochrane - forthcoming - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  2. Moral Beauty, Inside and Out.Ryan P. Doran - forthcoming - Tandf: Australasian Journal of Philosophy 1:1-19.
    In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  3. Really Boring Art.Andreas Elpidorou & John Gibson - forthcoming - Ergo: An Open Access Journal of Philosophy.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  4. Is Psychology Relevant to Aesthetics?Sherri Irvin, Bence Nanay, Elisabeth Schellekens & Murray Smith - forthcoming - Estetika.
    A symposium on Bence Nanay, Aesthetics as Philosophy of Art and Murray Smith, Film, Art, and the Third Culture. Commentaries on the two books by two critics, followed by responses by the two book authors.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  5. Philosophy, Literature and Understanding: On Reading and Cognition.Jukka Mikkonen - 2021 - London: Bloomsbury Academic.
    Challenging existing methodological conceptions of the analytic approach to aesthetics, Jukka Mikkonen brings together philosophy, literary studies and cognitive psychology to offer a new theory on the cognitive value of reading fiction. -/- Philosophy, Literature and Understanding defends the epistemic significance of narratives, arguing that it should be explained in terms of understanding rather than knowledge. Mikkonen formulates understanding as a cognitive process, which he connects to narrative imagining in order to assert that narrative is a central tool for communicating (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  6. Measuring Metaaesthetics: Challenges and Ways Forward.David Moss & Lance S. Bush - 2021 - New Ideas in Psychology 62.
    A growing body of psychological research seeks to understand how people's thinking comports with long-standing philosophical theories, such as whether they view ethical or aesthetic truths as subjective or objective. Yet such research can be critically undermined if it fails to accurately characterize the philosophical positions in question and fails to ensure that subjects understand them appropriately. We argue that a recent article by Rabb et al. (2020) fails to meet these demands and propose several constructive solutions for future research.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  7. Objectification and Vision: How Images Shape Our Early Visual Processes.Alice Roberts - 2021 - Synthese 32.
    Objectification involves treating someone as a thing. The role of images in perpetuating objectification has been discussed by feminist philosophers. However, the precise effect that images have on an individual's visual system is seldom explored. Kathleen Stock’s work is an exception—she describes certain images of women as causing viewers to develop an objectifying ‘gestalt’ which is then projected onto real-life women. However, she doesn’t specify the level of visual processing at which objectification occurs. In this paper, I propose that images (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  8. How Artworks Modify Our Perception of the World.Alfredo Vernazzani - 2021 - Phenomenology and the Cognitive Sciences:1-22.
    Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  9. Modelos estéticos en las ciencias humanas: un estudio epistemológico - Traducción de Facundo Bey.Lorenzo Bartalesi & Facundo Bey - 2020 - Boletín de Estética 51:8-36.
    Starting from the assumption that aesthetic is an anthropological fact which like language or symbolic thought belongs to the behavioral, cognitive and social register of our species, the article aims to clarify the uses of the category of aesthetic in the human sciences (social anthropology, cognitive psychology, evolutionary anthropology). The epistemological analysis focuses on the implicit assumptions that guide the different methodologies and leads to the elaboration of a conceptual map of the several models of aesthetic adopted in the contemporary (...)
    Remove from this list   Direct download (3 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  10. The Biology of Art.Stephen Davies - 2020 - British Journal of Aesthetics 60 (3):368-370.
    The Biology of ArtRICHARDSRICHARD A.Cambridge University Press. 2019. pp. 71. £15.00.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  11. Defending Scientific Naturalism in Philosophy of Art.Anton Killin - 2020 - Metascience 29 (2):289-292.
    This essay reviews Richard A. Richards: The biology of art. Cambridge: Cambridge University Press, 2019, 71pp, ₤15.00 PB.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  12. The Vanity of Small Differences: Empirical Studies of Extrinsic Factors and Artistic Value.Shen-yi Liao, Aaron Meskin & Jade Fletcher - 2020 - Aesthetic Investigations 4 (1):412-427.
    To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  13. A Layered, Bounded, Integrated Approach to Research on the Arts Across Disciplines.Dominic McIver Lopes - 2020 - Leonardo 53 (5):537-541.
    Cooperation among arts scholars is thought to be hampered by the division of research on the arts into two cultures, one scientific, one humanistic. This paper proposes an alternative model for research into the arts wherein multiple levels of explanation focussed on well-bounded phenomena integrate research across academic disciplines. Two case studies of research that fits the model are presented.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  14. Babies Rule! Niches, Scaffoldings, and the Development of an Aesthetic Capacity in Humans.Mariagrazia Portera - 2020 - British Journal of Aesthetics 60 (3):299-314.
    Where does the human aesthetic come from? How does it develop? By introducing the notion of the ‘niche’ as a key term in an empirically and evolutionarily informed aesthetics, this paper aims to take a fresh look at these and similar questions. It also aims to shed new light on the development and functioning of the aesthetic capacity in humans and its trans-generational transmission. Drawing on recent research developments in evolutionary biology, developmental psychology, and cognitive sciences, I shall argue that (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  15. Waltonian Perceptualism.Madeleine Ransom - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1).
    Kendall Walton’s project in ‘Categories of Art’ (1970) is to answer two questions. First, does the history of an artwork’s production determine its aesthetic properties? Second, how – if at all – should knowledge of the history of a work’s production influence our aesthetic judgments of its properties? While his answer to the first has been clearly understood, his answer to the second less so. Contrary to how many have interpreted Walton, such knowledge is not necessary for making aesthetic judgments; (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  16. Wittgenstein and Heidegger Against a Science of Aesthetics’.Andreas Vrahimis - 2020 - Estetika 57 (1):64-85.
    Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: (a) there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  17. Huston, Joseph P., MarcosNadal, FranciscoMora, LuigiF. Agnati, and CamiloJose Cela Conde, Eds. Art, Aesthetics, and the Brain. Oxford University Press, 2015, 544 Pp., $160.00 Cloth. [REVIEW]Javier Gomez-Lavin - 2019 - Journal of Aesthetics and Art Criticism 77 (2):219-222.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  18. Aesthetic Experts.Tereza Hadravová - 2019 - Espes 9 (1):27-36.
    In the 1990s and early 2000s, researchers in the field of so-called neuoaesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies uses subjects who are professionally engaged in the art world. In my paper, I describe, analyze, and critically discuss the two research paradigms regarding the subjects involved in the experiments (...)
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  19. Remembering Melodies From Another Culture: Turkish and American Listeners Demonstrate Implicit Knowledge of Musical Scales.Timothy Justus, Charles Yates, Nart Bedin Atalay, Nazike Mert & Meagan Curtis - 2019 - Analytical Approaches to World Music 7 (1).
    Beyond the major-minor tonality that characterizes classical and contemporary Western musical genres, Turkish classical and folk music offer experimental psychologists a rich modal system in which cognition, development, and enculturation can be studied. Here, we present a cross-cultural experiment concerning implicit knowledge of musical scales. Five groups of participants—American musicians and nonmusicians, Turkish musicians and nonmusicians, and Turkish classical and folk music listeners—were asked to listen to brief melodies composed using the member tones of either the major scale or the (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  20. Complex Systems in Aesthetics and Arts.Juan Romero, Colin Johnson & Jon McCormack - 2019 - Complexity 2019:1-2.
    The arts are one of the most complex of human endeavours, and so it is fitting that a special issue on Complex Systems in Aesthetics and Arts is being published. As the editors of this special issue, we would like to thank the reviewers of the submitted papers for their hard work in making this issue possible, as well as the authors who submitted their work and were very responsive to the comments of the reviewers and editors.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  21. The Motivational Structure of Appreciation.Servaas van der Berg - 2019 - Philosophical Quarterly 69 (276):445-466.
    On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy between (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  22. Binding and Unbinding the Mondrian Stimulus.Whitney Davis - 2018 - British Journal of Aesthetics 58 (4):449-467.
    This paper considers the use of the ‘Mondrian Stimulus’, invented by Edwin H. Land of the Polaroid Corporation, in various investigations in the visual neuropsychology, the neuroaesthetics, and the social psychology of aesthetic response to works of visual art. What difference does it make—in the set-up of these investigations and in our interpretation of their putative results—that the Mondrian Stimulus might be taken to be a ‘real’ painting by the actual Dutch artist Piet Mondrian? How does the existence of a (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  23. Form and Meaning in Music: Revisiting the Affective Character of the Major and Minor Modes.Timothy Justus, Laura Gabriel & Adela Pfaff - 2018 - Auditory Perception and Cognition 1 (3–4):229–247.
    Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians and non-musicians) who each evaluated the relatedness (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   2 citations  
  24. Seeking Salience in Engaging Artworks: A Short Story About Attention, Artistic Value, and Neuroscience (2018). The Arts and the Brain: Psychology and Physiology Beyond Pleasure, Progress in Brain Research 257: 437-453.William Seeley - 2018
    It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects and (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  25. Up the Nose of the Beholder? Aesthetic Perception in Olfaction as a Decision-Making Process.Ann-Sophie Barwich - 2017 - New Ideas in Psychology 47:157-165.
    Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I argue that the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  26. How Transparent is Disgust?Filippo Contesi - 2017 - European Journal of Philosophy 25 (4):1810-1823.
    According to the so-called transparency thesis, what is disgusting in nature cannot but be disgusting in art. This paper critically discusses the arguments that have been put forward in favour of the transparency thesis, starting with Korsmeyer's (2011) sensory view of disgust. As an alternative, it offers an account of the relationship between disgust and representation that explains, at least in part, whatever truth there is in the transparency thesis. Such an account appeals to a distinction between object-centric and situation-centric (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  27. Restorative Aesthetic Pleasures and the Restoration of Pleasure.Ryan Paul Doran - 2017 - Australasian Philosophical Review 1 (1):73-78.
    ABSTRACT: I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  28. Boredom in Art.Andreas Elpidorou - 2017 - Behavioral and Brain Sciences 40.
  29. NANAY, BENCE. Aesthetics as Philosophy of Perception. Oxford University Press, 2016, 192 Pp., $65.00 Cloth. [REVIEW]John Andrew Fisher - 2017 - Journal of Aesthetics and Art Criticism 75 (2):210-214.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  30. A Defence of Experimental Philosophy in Aesthetics.Clotilde Torregrossa - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy:1-23.
    Although experimental philosophy is now over a decade old, it has only recently been introduced to the domain of philosophical aesthetics. So why is there already a need to defend it? Because, as I argue in this paper, we can anticipate the three main types of objection generally addressed to experimental philosophy and show that none of them concern experimental philosophers in aesthetics. I begin with some general considerations about experimental philosophy and its, sometimes conflicting, characteristics. This framework is designed (...)
    Remove from this list   Direct download (9 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  31. Effects of Musical Training and Culture on Meter Perception.Charles Yates, Timothy Justus, Nart Bedin Atalay, Nazike Mert & Sandra Trehub - 2017 - Psychology of Music 45 (2):231–245.
    Western music is characterized primarily by simple meters, but a number of other musical cultures, including Turkish, have both simple and complex meters. In Experiment 1, Turkish and American adults with and without musical training were asked to detect metrical changes in Turkish music with simple and complex meter. Musicians performed significantly better than nonmusicians, and performance was significantly better on simple meter than on complex meter, but Turkish listeners performed no differently than American listeners. In Experiment 2, members of (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  32. Review Of: "Strange Tools: Art and Human Nature" by Alva Noe. [REVIEW]Lauren R. Alpert - 2016 - American Society for Aesthetics Graduate E-Journal 8 (1):1-3.
    Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  33. The Meanings of Disgusting Art.Filippo Contesi - 2016 - Essays in Philosophy 17 (1):68-94.
    It has been recently argued, contrary to the received eighteenth-century view, that disgust is compatible with aesthetic pleasure. According to such arguments, what allows this compatibility is the interest that art appreciators sometimes bestow on the cognitive content of disgust. On this view, the most interesting aspect of this cognitive content is identified in meanings connected with human mortality. The aim of this paper is to show that these arguments are unsuccessful.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  34. Disgust’s Transparency.Filippo Contesi - 2016 - British Journal of Aesthetics 56 (4):347-354.
    The transparency thesis for disgust claims that what is disgusting in nature is always also disgusting in art. Versions of the thesis have been endorsed by, among others, Kant, Lessing, Mendelssohn, and, more recently, Arthur Danto, Carolyn Korsmeyer, and Jenefer Robinson. The present paper articulates and discusses different readings of the thesis. It concludes that the transparency thesis is false.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  35. NOË, ALVA. Strange Tools: Art and Human Nature. New York: Hill and Wang, 2015, Xiii + 285 Pp., $28.00 Cloth. [REVIEW]Casey Haskins - 2016 - Journal of Aesthetics and Art Criticism 74 (3):303-305.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  36. Does It Matter Where You Read? Situating Narrative in Physical Environment.Anezka Kuzmicova - 2016 - Communication Theory 26 (3):290-308.
    While language use in general is currently being explored as essentially situated in immediate physical environment, narrative reading is primarily regarded as a means of decoupling one’s consciousness from the environment. In order to offer a more diversified view of narrative reading, the article distinguishes between three different roles the environment can play in the reading experience. Next to the traditional notion that environmental stimuli disrupt attention, the article proposes that they can also serve as a prop for mental imagery (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  37. Audiobooks and Print Narrative: Similarities in Text Experience.Anezka Kuzmicova - 2016 - In Jarmila Mildorf & Till Kinzel (eds.), Audionarratology: Interfaces of Sound and Narrative. De Gruyter. pp. 217-237.
    Comparisons between audiobook listening and print reading often boil down to the fact that audiobooks impose limitations on the recipient’s continuous in-depth reflection. As a result, audiobook listening is considered a shallow alternative to reading. This chapter critically revisits the following three intuitions commonly associated with such comparisons: 1) Audiobooks elicit more mental imagery than print. 2) Audiobooks invite more inattentive processing than print. 3) Audiobook listening is more contingent on the environment than print reading. Instead of postulating the superiority (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  38. ‘Neuroaesthetics’, Gombrich, and Depiction.Patrick Maynard - 2016 - British Journal of Aesthetics 56 (2):191-201.
    For philosophical readers, a review of biology Nobel laureate Eric R. Kandel’s Age of Insight historical thesis, that today’s ‘neuroaesthetics’ is a continuation of Vienna’s great contributions to modernism from 1900 on, becomes a ‘critical study’, by closely examining Kandel’s valuable account of E.H. Gombrich’s psychology, then, broadly, his own case for the validity of ‘neuroaesthetics’. The article much credits Kandel for recognising and explaining—unlike most philosophers, with their epistemological and metaphysical perspectives—why Gombrich’s Art and Illusion is subtitled ‘Psychology’, since (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  39. Another Darwinian Aesthetics.Catherine Wilson - 2016 - Journal of Aesthetics and Art Criticism 74 (3):237-252.
    I offer a Darwinian perspective on the existence of aesthetic interests, tastes, preferences, and productions. It is distinguished from the approaches of Denis Dutton and Geoffrey Miller, drawing instead on Richard O. Prum's notion of biotic artworlds. The relevance of neuroaesthetics to the philosophy of art is defended.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  40. Intersemiotic Translation and Transformational Creativity.Daniella Aguiar, Pedro Ata & Joao Queiroz - 2015 - Punctum 1 (2):11-21.
    In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s framework (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  41. Prégnances du devenir. Simondon et les images.Emmanuel Alloa - 2015 - Critique 816:356-371.
    Problématisation, individuation, (dés)adaptation L’inventivité du vivant : la « disparation » Mouvements à vide. La spontanéité selon Simondon La prégnance des images Ontogenèse, phylogenèse, eikogenèse. L’image comme médiation .
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  42. The Aesthetic Stance - on the Conditions and Consequences of Becoming a Beholder.Maria Brincker - 2015 - In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  43. Making the Difference: John Dewey and the Naturalization of Aesthetics.Jean-Pierre Cometti - 2015 - 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  
     
    Export citation  
     
    Bookmark   3 citations  
  44. Korsmeyer on Fiction and Disgust.Filippo Contesi - 2015 - British Journal of Aesthetics 55 (1):109-116.
    In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  45. “Aesthetic Primitives”: Fundamental Biological Elements of a Naturalistic Aesthetics.Ellen Dissanayake - 2015 - 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  
     
    Export citation  
     
    Bookmark   2 citations  
  46. Shared Aesthetic Starting Points?Roberta Dreon - 2015 - 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  
     
    Export citation  
     
    Bookmark   1 citation  
  47. Phenomenology and Neuroaesthetics.Elio Franzini - 2015 - 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  
     
    Export citation  
     
    Bookmark  
  48. Herman, David. Storytelling and the Sciences of Mind. The MIT Press, 2013, Xiv + 428 Pp., $45.00 Cloth. [REVIEW]László Kajtár - 2015 - Journal of Aesthetics and Art Criticism 73 (3):367-369.
  49. Making «Art» in Prehistory: Signs and Figures of Metaphorical Paleolithic Man.Fabio Martini - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):41-52.
    We owe our first graphic experiences to Neanderthal Man, who introduced to the cultural baggage of the genus Homo two metaphorical behaviors that are fundamental in terms of their innovation: one concerns the preservation of the bodies of the dead through burial, the other is the making of signs, which in this stage of evolution do not yet represent recognizable subjects but only lines. This attests to the creation of a graphical tool that materializes and makes visible that which exists (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  50. Aesthetic Attention.Bence Nanay - 2015 - Journal of Consciousness Studies 22 (5-6):96-118.
    The aim of this paper is to give a new account of the way we exercise our attention in some paradigmatic cases of aesthetic experience. I treat aesthetic experience as a specific kind of experience and like in the case of other kinds of experiences, attention plays an important role in determining its phenomenal character. I argue that an important feature of at least some of our aesthetic experiences is that we exercise our attention in a specific, distributed, manner: our (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   11 citations