David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jonathan Jenkins Ichikawa
Jack Alan Reynolds
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Phenomenology and the Cognitive Sciences 8 (2):159-182 (2009)
This paper focuses on the emergent neo-Jamesian perspective concerning the phenomenology of art and aesthetic experience. Starting from the distinction between nucleus and fringe in the stream of thought described by William James, it can be argued that our appreciation of a work of art is guided by a vague and blurred perception of a much more powerful content, of which we are not fully aware. Accordingly, a work of art is seen as a kind of metaphor of our mental life, objectified to be able to reach out to a much larger audience. However, it is a “realistic” theory rooted in evolutionary psychology, which claims that our mind developed within a framework shaped by environmental pressures. The aesthetics illustrated by several novelists develops a paradigm for this theory. The search for the neuronal correlates of stream of consciousness allows to make a comparison with the recent findings of neuroaesthetics and to reject its claim that it is unnecessary to take phenomenology and psychology into account.
|Keywords||Art Fringe Nucleus James Neuroaesthetics|
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References found in this work BETA
William James (1890). The Principles of Psychology. Dover Publications.
David J. Chalmers (1996). The Conscious Mind: In Search of a Fundamental Theory. Oxford University Press.
Stephen M. Kosslyn (1980). Image and Mind. Harvard University Press.
George Lakoff & Mark Johnson (1999). Philosophy in the Flesh the Embodied Mind and its Challenge to Western Thought.
Citations of this work BETA
Arthur M. Jacobs (2015). Neurocognitive Poetics: Methods and Models for Investigating the Neuronal and Cognitive-Affective Bases of Literature Reception. Frontiers in Human Neuroscience 9.
Andrea Lavazza & Riccardo Manzotti (2013). An Externalist Approach to Creativity: Discovery Versus Recombination. Mind and Society 12 (1):61-72.
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