Results for 'Art-Criticisim'

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  1. Negotiating Rapture the Power of Art to Transform Lives.Richard Francis, Homi K. Bhabha, Yve Alain Bois & Museum of Contemporary Art - 1996
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  2.  54
    The Art Instinct: Beauty, Pleasure, & Human Evolution.Denis Dutton - 2009 - Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
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  3. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    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 (...)
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  4. The Wheel of Virtue: Art, Literature, and Moral Knowledge.Noël Carroll - 2002 - Journal of Aesthetics and Art Criticism 60 (1):3–26.
    In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.
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  5. Street Art: The Transfiguration of the Commonplaces.Nick Riggle - 2010 - Journal of Aesthetics and Art Criticism 68 (3):243-257.
    According to Arthur Danto, post-modern or post-historical art began when artists like Andy Warhol collapsed the Modern distinction between art and everyday life by bringing “the everyday” into the artworld. I begin by pointing out that there is another way to collapse this distinction: bring art out of the artworld and into everyday life. An especially effective way of doing this is to make street art, which, I argue, is art whose meaning depends on its use of the street. I (...)
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  6. Art and Intention: A Philosophical Study.Paisley Livingston - 2005 - Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
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  7.  32
    A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists.Emine Hande Tuna - 2016 - Journal of Aesthetics and Art Criticism 74 (4):397-411.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...)
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  8.  79
    The Aesthetic Creation Theory of Art.Rafael De Clercq - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:20-24.
    This is a critical discussion of Nick Zangwill’s Aesthetic Creation Theory of Art, as he has presented the theory in his book Aesthetic Creation. The discussion focuses on two questions: first, whether the notion of art implied by Zangwill’s theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art.
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  9. On the Prototype Theory of Concepts and the Definition of Art.Thomas Adajian - 2005 - Journal of Aesthetics and Art Criticism 63 (3):231–236.
    It has been claimed that the prototype theory of concepts supports two controversial claims in the philosophy of art: that art cannot be defined, and that the possession of a certain sort of historical narrative is a sufficient but not necessary means of determining the art status of contested works. It is argued here that two sorts of considerations undermine the thesis that prototype theory offers significant support to anti-definitionism and historical narrativism. First, there is reason to think that prototype (...)
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  10.  17
    Assessing Socially Engaged Art.Vid Simoniti - 2018 - Journal of Aesthetics and Art Criticism 76 (1):71-82.
    The last twenty-five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often-dismissed position, namely, the pragmatic view of (...)
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  11.  52
    WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  12.  79
    Pornography, Art and Porno-Art.Mari Mikkola - 2013 - In Hans Maes (ed.), Pornographic Art and the Aesthetics of Pornography. Palgrave-Macmillan. pp. 27.
    Philosophers involved in the ‘porn-or-art’ debates standardly assume that pornography is centrally about sexual arousal, while art is about something else. I argue against this assumption and for the view that there is no single thing that pornography (or art) ‘is about’. This suggests that there is no prima facie reason for claiming that some x cannot be both pornography and art. I further go on to develop an understanding of (what I call) ‘porno-art’ - a wholly new kind of (...)
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  13.  21
    Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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  14. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
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  15.  25
    After the End of Art: Contemporary Art and the Pale of History.Arthur C. Danto - 1998 - Princeton University Press.
    Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...)
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  16. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
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  17. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...)
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  18. David Davies, Art as Performance.Reviews by Robert Stecker & John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):75–80.
    In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...)
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  19.  78
    Against Raunchy Women's Art.Cynthia Freeland - 2009 - In Curtis Carter (ed.), Art and Social Change. International Association for Aesthetics. pp. 56-72.
    This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas.
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  20.  15
    Imaginative Understanding, Affective Profiles, and the Expression of Emotion in Art.Robert Hopkins - 2017 - Journal of Aesthetics and Art Criticism 75 (4):363-374.
    R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...)
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  21.  31
    The Fate of Art: Aesthetic Alienation From Kant to Derrida and Adorno.J. M. Bernstein - 1992 - Pennsylvania State University Press.
    Aesthetic alienation may be described as the paradoxical relationship whereby art and truth have come to be divorced from one another while nonetheless remaining entwined. J. M. Bernstein not only finds the separation of art and truth problematic, but also contends that we continue to experience art as sensuous and particular, thus complicating and challenging the cultural self-understanding of modernity. Bernstein focuses on the work of four key philosophers—Kant, Heidegger, Derrida, and Adorno—and provides powerful new interpretations of their views. Bernstein (...)
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  22. Painting the Difference: Sex and Spectator in Modern Art, by Charles Harrison. [REVIEW]Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244–246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  23.  63
    Playing with Fire: Art and the Seductive Power of Pain.Iskra Fileva - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave Macmillan.
    I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.
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  24.  18
    Theories of Art Today.Noel Carroll (ed.) - 2000 - University of Wisconsin Press.
    What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.
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  25. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/ Macmillan.
    In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...)
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  26. Kant, Art, and Art History: Moments of Discipline.Mark A. Cheetham - 2009 - Cambridge University Press.
    Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgment, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the Kantian language in (...)
     
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  27.  59
    Lord, Lewis, and the Institutional Theory of Art.Peggy Zeglin Brand - 1982 - Journal of Aesthetics and Art Criticism 40 (3):309-314.
    In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...)
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  28.  64
    Deconstruction and the Visual Arts: Art, Media, Architecture.Peter Brunette & David Wills (eds.) - 1993 - Cambridge University Press.
    Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most innovative thinking (...)
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  29.  91
    The Life of a Style: Beginnings and Endings in the Narrative History of Art.Jonathan Gilmore - 2000 - Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
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  30.  54
    The Philosophy of Art History.Arnold Hauser - 1958 - New York: Knopf.
    First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...)
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  31.  13
    The Garden as an Art.Mara Miller - 1993 - State University of New York Press.
    In this book Miller challenges contemporary aesthetic theory to include gardens in an expanded definition of art.
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  32.  12
    Andina, Tiziana. The Philosophy of Art: The Question of Definition—From Hegel to Post‐Dantian Theories, Trans. Natalia Iacobelli, New York: Bloomsbury, 2013, 190 Pp., 5 B&W Illus., $37.95 Paperback, $120.00 Cloth. [REVIEW]Michel-Antoine Xhignesse - 2016 - Journal of Aesthetics and Art Criticism 74 (1):106-108.
    A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).
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  33.  44
    The Nature of Art.A. L. Cothey - 1990 - Routledge.
    From Plato to Goodman, many philosophers have addressed problems in aesthetics and the philosophy of art. Nevertheless the central issues here have remained ill-defined. In this book, A. L. Cothey overcomes this difficulty by giving a systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day. In The Nature of Art , Cothey concludes that the best-known philosophical theories of art fail to satisfy either the pragmatic or the aesthetic criteria required to (...)
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  34.  17
    Art and the Absolute: A Study of Hegel's Aesthetics.William Desmond - 1986 - State University of New York Press.
    The book draws on the astonishing scope and depths of Hegel's Lectures on Aesthetics, exploring the multifaceted issue of art and the absolute. Why does Hegel ascribe absoluteness to art? What can such absoluteness mean?
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  35.  8
    Review of New Feminist Art Criticism by Katy Deepwell. [REVIEW]Peg Brand - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344-345.
    Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...)
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  36.  8
    The Language of Art History.Salim Kemal & Ivan Gaskell - 1994 - Journal of Aesthetics and Art Criticism 52 (2):249-250.
    The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an introductory chapter (...)
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  37. Culture and Art: An Anthology.Lars Aagaard-Mogensen (ed.) - 1976 - Humanities Press.
    Danto, A. The artworld.--Dickie, G. What is art?--Margolis, J. Works of art are physically embodied and culturally emergent entities.--Kjørup, S. Art broadly and wholly conceived.--Meyer, L. B. Forgery and the anthropology of art.--Brunius, T. Theory and ideologies in aesthetics.--Tilghman, B. R. Artistic puzzlement.--Binkley, T. Deciding about art.--Alexander, H. G. On defining in aesthetics.--Iseminger, G. Appreciation, the artworld, and the aesthetic.--Glickman, J. Creativity in the arts.--Sclafani, R. The theory of art.--Lyas, C. Danto and Dickie on art.--Beardsley, M. C. Is art essentially (...)
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  38.  87
    Art and Embodiment: From Aesthetics to Self-Consciousness.Paul Crowther - 1993 - Oxford University Press.
    In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the (...)
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  39. Defining Art, Creating the Canon: Artistic Value in an Era of Doubt.Paul Crowther - 2007 - Oxford University Press.
    Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...)
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  40.  27
    Homemade Esthetics: Observations on Art and Taste.Clement Greenberg - 1999 - Oxford University Press.
    Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...)
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  41.  18
    Making Theory/Constructing Art: On the Authority of the Avant-Garde.Daniel Alan Herwitz - 1993 - University of Chicago Press.
    Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, and Andy (...)
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  42.  5
    Philosophies of Art and Beauty: Selected Readings in Aesthetics From Plato to Heidegger.Albert Hofstadter & Richard Kuhns - 1976 - University of Chicago Press.
    This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part (...)
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  43.  13
    Sustaining Loss: Art and Mournful Life.Gregg Horowitz - 2001 - Stanford University Press.
    Sustaining Loss explores the uncanny, traumatic weaving together of the living and the dead in art, and the morbid fascination it holds for modern philosophical aesthetics. Beginning with Kant, the author traces how aesthetic theory has been drawn back repeatedly to the moving power of the undead body of the work of art. He locates the most potent expressions of this philosophical compulsion in Hegel's thesis that art is a thing of the past, and in Freud's view that the work (...)
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  44.  20
    What Happens in Art.Matthew Lipman - 1966 - New York: Appleton-Century-Crofts.
    Subsequently presented is a more detailed consideration of the notion of process , for we cannot understand what happens in art as a process unless we are ...
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  45.  9
    Art in its Time: Theories and Practices of Modern Aesthetics.Paul Mattick - 2003 - Routledge.
    Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.
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  46.  28
    Eighteenth-Century Aesthetics and the Reconstruction of Art.Paul Mattick (ed.) - 1993 - Cambridge University Press.
    This collection of essays explores the rise of aesthetics as a response to, and as a part of, the reshaping of the arts in modern society. The theories of art developed under the name of 'aesthetics' in the eighteenth century have traditionally been understood as contributions to a field of study in existence since the time of Plato. If art is a practice to be found in all human societies, then the philosophy of art is the search for universal features (...)
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  47.  19
    Routledge Philosophy Guidebook to Nietzsche on Art.Aaron Ridley - 2006 - Routledge.
    Presenting some of Nietzsche's most significant thoughts on art and literature, this enthralling account traces the development of his thinking throughout his ...
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  48.  3
    A Theory of Art: Inexhaustibility by Contrast.Stephen David Ross - 1982 - State University of New York Press.
    The general theory of art and aesthetic value developed in this book is based on the notions of inexhaustibility and contrast and has important forebears in Kant, Coleridge, and Whitehead.
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  49. Art, Meaning, and Aesthetics: The Case for a Cognitive Neuroscience of Art.William Seeley - 2015 - In Joseph P. Huston, Marcos Nadal, Francisco Mora, Luigi F. Agnati & Camilo Jose Cela Conde (eds.), Art, Aesthetics and the Brian. New York, NY, USA: pp. 19-39.
    Empirical aesthetics and philosophy of art are often framed as disciplines in conflict with one another. Psychologists working in empirical aesthetics argue that philosophical theories of art reflect the evaluative biases of critics and experts and so fail as objective accounts of artistic practice. Philosophers argue that the causal-psychological explanations appealed to in empirical aesthetics can not account for the role normative conventions play in appreciative judgements, and so fail to differentiate artworks and artistic practices from ordinary artifacts and behaviors. (...)
     
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  50.  62
    The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-180.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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