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  1.  73
    Art, artists, and perception: A model for premotor contributions to perceptual analysis and form recognition.William Seeley & Aaron Kozbelt - 2008 - Philosophical Psychology 21 (2):149 – 171.
    Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for object (...)
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  2.  1
    Neuroaesthetics: The State of the Domain in 2017.Aaron Kozbelt - 2017 - Evolutionary Studies in Imaginative Culture 1 (1):181-192.
    In this article, I assess the current state of neuroaesthetics by reviewing 10 recent books on neuroscientific and evolutionary aspects of aesthetic cognition. These books largely continue the main thrust of this genre since its inception. Virtually all are insightful and thought-provoking, though their individual strengths vary. Among them, Shimamura and Palmer's edited book, Aesthetic Science, provides the most useful and balanced interdisciplinary framework, making philosophy and psychology equal partners with neuroscience. This pluralistic mode, dethroning neuroscience from its usual hegemony, (...)
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  3.  3
    Neuroaesthetics.Aaron Kozbelt - 2022 - Evolutionary Studies in Imaginative Culture 6 (1):123-126.
  4. A Visuomotor Skill Model for Artists' Advantages in Drawing, Visual Analysis, and Form Recognition.William Seeley & Aaron Kozbelt - 2004 - In Art and Science: Proceedings of the International Association of Empirical Aesthetics, Volume XVIII. pp. 645-648.
     
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  5.  14
    Extending the psycho-historical framework to understand artistic production.Aaron Kozbelt & Justin Ostrofsky - 2013 - Behavioral and Brain Sciences 36 (2):148-149.
    We discuss how the psycho-historical framework can be profitably applied to artistic production, facilitating a synthesis of perception-based and knowledge-based perspectives on realistic observational drawing. We note that artists' technical knowledge itself constitutes a major component of an artwork's historical context, and that links between artistic practice and psychological theory may yet yield conclusions in line with universalist perspectives.
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  6.  3
    Six Recent Books on the Neuroscience of Creativity: Notes from the Underbelly.Aaron Kozbelt - 2019 - Evolutionary Studies in Imaginative Culture 3 (2):73-82.
    Here I review six recent books broadly relevant to the neuroscience of creativity. The books engage these two topics in markedly different proportions and from somewhat different perspectives, but with a consistently high level of quality. All are worth a look. A common thread is a focus on the basic neural mechanisms enabling full-blown creative thought, as well as mental activities like divergent thinking, mind-wandering, and daydreaming. The neuroscience approach to the underbelly of creativity has begun to prove its mettle. (...)
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  7. Contemporary Evolutionary Aesthetics: The View from the Humanities.Aaron Kozbelt - 2017 - Evolutionary Studies in Imaginative Culture 1 (2):95-104.
    In this article, I assess the current state of evolutionary aesthetics by reviewing four recent books by scholars in art history, literary studies, and psychology. Each book is humanistic in a broad sense. They all address evolutionary themes and share a commitment to understanding aesthetic experience via methodological pluralism, but they differ substantially in perspective and tone. That of Cupchik, a psychologist, expansively discusses the aesthetics of emotion. That of Rampley, an art historian, is the most polemical, with a strong (...)
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  8. James C. Kaufman and Robert J. Sternberg, eds. The Cambridge Handbook of Creativity.Aaron Kozbelt - 2020 - Evolutionary Studies in Imaginative Culture 4 (1):131-136.
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  9. Neuroaesthetics.Aaron Kozbelt - 2022 - Evolutionary Studies in Imaginative Culture 6 (2):155-158.
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  10. Proceedings of the International Association of Empirical Aesthetics.Aaron Kozbelt (ed.) - 2014
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  11. Steven Brown. The Unification of the Arts: A Framework for Understanding What the Arts Share and Why.Aaron Kozbelt - 2022 - Evolutionary Studies in Imaginative Culture 6 (2):109-114.
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  12. Samuel J. Keyser. The Mental Life of Modernism: Why Poetry, Painting, and Music Changed at the Turn of the Twentieth Century.Aaron Kozbelt - 2020 - Evolutionary Studies in Imaginative Culture 4 (2):145-150.
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  13.  20
    Free and open source software (FOSS) as a model domain for answering big questions about creativity.Scott Dexter & Aaron Kozbelt - 2013 - Mind and Society 12 (1):113-123.
    In free and open source software , computer code is made freely accessible and can be modified by anyone. It is a creative domain with many unique features; the FOSS mode of creativity has also influenced many aspects of contemporary cultural production. In this article we identify a number of fundamental but unresolved general issues in the study of creativity, then examine the potential for the study of FOSS to inform these topics. Archival studies of the genesis of FOSS projects, (...)
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  14.  1
    Feist, Gregory J., Roni Reiter-Palmon, and James C. Kaufman, eds. 2017. The Cambridge Handbook of Creativity and Personality Research. New York: Cambridge University Press. ix, 427 pages. [REVIEW]Aaron Kozbelt - 2018 - Evolutionary Studies in Imaginative Culture 2 (2):125-130.
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