Ellen Dissanayake's evolutionary aesthetic

Biology and Philosophy 20 (2-3):291-304 (2004)
Abstract
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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DOI 10.1007/s10539-004-0193-3
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References found in this work BETA
The Invention of Art: A Cultural History.Larry Shiner - 2003 - Journal of Aesthetics and Art Criticism 61 (4):401-403.
Komar and Melamid Discover Pleistocene Taste.Ellen Dissanayake - 1998 - Philosophy and Literature 22 (2):486-496.
Art and Intimacy: How the Arts Began.Ellen Dissanayake - 2004 - Journal of Aesthetics and Art Criticism 62 (1):69-71.
What Is Art For?Ellen Dissanayake - 1989 - Journal of Aesthetics and Art Criticism 47 (4):392-393.

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