Journal of Aesthetics and Art Criticism 69 (4):379-389 (2011)
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Abstract |
This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in the production and appreciation of somerecently discovered Palaeolithic artefacts.
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Keywords | Prehistoric art Design stance Historical definitions of art First art |
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DOI | 10.1111/j.1540-6245.2011.01482.x |
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References found in this work BETA
A Common Structure for Concepts of Individuals, Stuffs, and Real Kinds: More Mama, More Milk, and More Mouse.Ruth Garrett Millikan - 1997 - Behavioral and Brain Sciences 21 (1):55-65.
The Cluster Account of Art Defended.Berys Gaut - 2005 - British Journal of Aesthetics 45 (3):273-288.
View all 7 references / Add more references
Citations of this work BETA
Defining Art and Artworlds.Stephen Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (4):375-384.
The Imago Dei as a Work in Progress: A Perspective From Paleoanthropology.Johan De Smedt & Helen De Cruz - 2014 - Zygon 49 (1):135-156.
Art and Aesthetic Behaviors as Possible Expressions of Our Biologically Evolved Human Nature.Stephen Davies - 2014 - Philosophy Compass 9 (6):361-367.
Delighting in Natural Beauty: Joint Attention and the Phenomenology of Nature Aesthetics.Johan De Smet & Helen De Cruz - 2013 - European Journal for Philosophy of Religion 5 (4):167-186.
View all 11 citations / Add more citations
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