In this article we try to give a philosophically reflected introductory overview of the current theoretical developments in the field of evolutionary aesthetics. Our aim is not completeness. Rather, we try to depict some of the central assumptions and explanatory tools frequently used in evolutionary accounts of human aesthetical preferences and address a number of currently debated, open research questions.

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 critique of the encroachment of biology into questions of cultural history. Those of Hogan and Aldama, both literary scholars, deal primarily with literature and are the most personal and ultimately the most thought-provoking. The collective humanistic perspective is a departure from more neuroscience-intensive recent volumes, and it highlights the importance of themes like the emergence of aesthetics from the interaction between nature and culture—potentially in different ways at different times throughout the phylogenetic history of our species. (shrink)

Evolutionary aesthetics (EA) investigates the origins and evolution of aesthetic preferences and artistic behaviors, along with the underlying capacities that support these preferences and behaviors. EA is a multidisciplinary approach that intersects various disciplines – e.g. evolutionary psychology, biology, neurosciences, art history, archeology, anthropology, philosophical aesthetics – providing a comprehensive framework for understanding the deep-rooted biological and evolutionary underpinnings of human aesthetic preferences and artistic expressions. Central to EA, in fact, is the exploration of when, (...) how and why aesthetic preferences and artistic behaviors originated in human history, as well as understanding whether these behaviors are evolutionary adaptations, by-products of evolutionary processes, or nonbiological cultural products (Killin 2021; Richards 2022). (shrink)

In the first half of the twentieth century there was a remarkable convergence of art and design in De Stijl, Constructivism and the Bauhaus. But in the second half of the twentieth century fine art relinquished its liaison with design due to the influence of Dada and Surrealism's postromantic antagonism to practical-functionalism. Dada and Surrealism and postmodern fine art are characterized by a critique of the dominant social discourse of functionalism and the demand for a sublime poetics to be brought (...) into everyday life. This article argues that the apparent antipathy between postmodern fine art and design can be ameliorated if we critically analyse interpretations of evolutionary theory by postromantic philosophers such as Nietzsche, Bergson, and Deleuze and Guattari. When Bergson notes that practical-functional reasoning was created by evolution he reveals a flaw in the pursuit of an aesthetics that is totally opposed to commonsense and practical-functionalism. And when we turn to Deleuze and Guattari we find another valuable concept in the form of their notion of the machinic, which assists further in reconciling the postromantic emphasis on the sublime with the practicality of mechanism. Moreover, Deleuze and Guattari's notion of the machinic is informed by chaos theory, which allows further elaboration in terms of complexity theory. Complexity theory can be understood as a process philosophy that has no need to figure the sublime in terms of a mysterious force of nature because the mystery is located within complex interactions among a manifold of components, what one might refer to as a cosmic, machinic, combinatoire that arises out of what Christopher Langton has called the edge of chaos. This makes it possible to replace the emphasis on desire as the fundamental force of nature evident in Nietzsche, Bergson, Deleuze and Guattari with a complexity-theoretical concept of a cosmicmachinic combinatoire. It is then possible to formulate a machinic, evolutionary aesthetics that can reconcile the postromantic demand for sublimity with the demand for practical-functionalism that lies at the heart of the discipline of design. In place of the modernist machine aesthetic that informed De Stijl, Constructivism and the Bauhaus we would have a postmodernist machinic aesthetic. (shrink)

What is evolutionary aesthetics for? This paper investigates whether and in what way it may be useful to develop a conception of artistic practices as culturally differentiated behaviours in response to our vital needs, without resorting to a reductionist and substantial conception of human nature. Through an approach based on cultural naturalism, the suggested inquiry is also meant to verify whether in the debate on the evolutionary origins of the arts there are conceptual tools and theses which (...) can help understand the present state of the arts and aesthetic consumption. Recognizing the historical, geographical and social conditioning that affects the traditional aesthetic stance and the conception of art as an autonomous sphere does not exclude the possibility of investigating the roles the arts play in human interactions with the world, the deep-seated anthropological needs they stem from, and the variety of ways in which they express these needs. In this light it seems more fruitful to conceive of the arts in terms of artyfing behaviours than to search for a more universal definition of art. The paper further suggests that the notion of “making special” – understood by Ellen Dissanayake as a shared anthropological attitude – makes it possible to recover those emotional and social dimensions in which artistic practices have their roots and which they in turn contribute to sustaining, arguing that a more critical evaluation is required of the structural ambivalence of these dimensions and of their consequences on artistic dynamics. (shrink)

This paper is a commentary comparing the evolutionary perspectives of Denis Dutton’s The Art Instinct (2009) and Stephen Davies’s The Artful Species (2012). Their topics thus necessarily overlap, but their books have different purposes and a different feel. Davies’s book is an academic exercise. He has no real arguments or claims of his own. Dutton wishes to demonstrate that evolutionary psychology can provide a satisfying naturalistic explanation of aesthetic experience. Neither Davies nor Dutton fully succeeds in his ambition. (...) Davies extends his scepticism well beyond a sensible account of the state of current knowledge about human evolution, and Dutton fails to recognize underlying theoretical differences in his main sources of theoretical inspiration. The limitations in these two works do not define the boundaries of current knowledge in evolutionary aesthetics. The most advanced and adequate concept in the evolutionary humanities is the idea that humans evolved the capacity to create imaginative virtual worlds and use those worlds to guide human behaviour. Both books being considered in this essay approach the idea of imaginative virtual worlds and almost grasp it. Before taking up that topic, the paper shall discuss two subsidiary issues: Dutton’s effort to incorporate sexual selection, and Davies’s sceptical negations about all evolutionary knowledge. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 221 Seiten: 71-103.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ (...) evolutionary development, which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

Denis Dutton’s The Art Instinct succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems with (...) Dutton’s appeal to sexual selection, with his discussion of the adaptation/by-product distinction and its significance, and with drawing normative conclusions from evolutionary hypotheses. (shrink)

Evolutionary aesthetics (EA) is often associated with the rise of evolutionary psychology, from roughly the 1980s until the 2010s. Yet that was neither the beginning nor the end of the field but rather a middle wave after the first and before the third. How has the field evolved? What are the epistemic and methodological problems it has addressed, and how? What is the field heading towards in the current scholarly environment? A self-reflexive conception of the history of (...) EA is still lacking, although EA research is acquiring more and more perspectives from different disciplinary viewpoints. I will present a bird’s-eye view of EA by identifying and positioning three of its major currents in relation to each other. This state-of-the-art article also serves as an up-to-date introduction to the field for the non-initiated. (shrink)

This essay examines the possibility of developing a more complete evolutionary aesthetics that can be used to appraise both natural landscapes and works of landscape architects. For the purpose of this essay, an “evolutionary aesthetics” is an aesthetic theory that is closely connected to Darwin’s theory of evolution. Two types of Darwinian evolutionary aesthetics seem possible; a theory of evolved tastes, such as that developed by Dennis Dutton, and an aesthetics of evolving nature (...) based on Carlson’s positive aesthetics. After, exploring both theories, I argue that, while the two positions approach aesthetics from different directions, they support similar aesthetic judgments concerning landscapes, and this suggests that the two positions might be incorporated into a broader theory of evolutionary aesthetics. That theory is briefly outlined and applied to both natural landscapes and parks. (shrink)

Over the last several decades Ellen Dissanayake has developed an evolutionary theory of art that views all art as having evolved for the function of promoting group cohesion. This theory is not without its critics, yet it has received little empirical attention. In this article I propose a more modest formulation of Dissanayake’s hypothesis and proceed to test it using a cross-cultural analysis. I rely on the ethnographic databases of the electronic Human Relations Area Files as well as the (...) Standard Cross-Cultural Sample to compare proxies for group cohesion with measures of ritual art, a subset of art that I theoretically define. While my results cannot decisively prove or disprove Dissanayake’s hypothesis, they do lend empirical support to her views. This is promising not only for her views but for outlining ways of empirically testing other views in evolutionary aesthetics. (shrink)

The essay focuses on the Italian evolutionist Tito Vignoli, whose work is the result of a fruitful contamination between philosophy, history of religion, linguistics, ethnography, anthropology, psychology, zoology and physiology. His most regarded book, Mito e scienza (1879), and some of his minor writings deal with the theory of myth, art and aesthetics in the new framework of Darwin's ideas.

Evolutionary Aesthetics is a bourgeoning and thriving sub-field of Aesthetics, the main aim of which is “the importation of aesthetics into natural sciences, and especially its integration into the heuristic of Darwin’s evolutionary theory.” Scholars working in the field attempt to determine through the adoption of an interdisciplinary research methodology whether and to what extent Darwinian evolution can shed light on our capacity to have aesthetic experiences, make aesthetic judgments (both of art and natural beauty), (...) and produce literary, visual, musical artworks. Notwithstanding Evolutionary Aesthetics’ growing popularity in the past two decades, a look into the state of current research suggests a significant degree of haziness in the field from both epistemological-methodological and theoretical points of view. The main aim of the present paper is to make a first step towards a revision and extension of the discipline by assessing the role and potential of epigenetics in evolutionarily inspired aesthetic research. Epigenetics is among the youngest and most fascinating research fields in contemporary biology. But one of the most significant occurrences of the word “epigenesis” (the closest “ancestor” of contemporary “epigenetics”) is in Immanuel Kant’s third Critique, his aesthetic masterpiece. What might be the relationship between epigenetics and aesthetics? What is the role of epigenetic mechanisms in the development and functioning of aesthetic behavior in humans? (shrink)

This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating (...) the maturity and scope of the field and his critique is timely and unparalleled. A laudable effort, however it may have benefited from espousing a co-evolutionary model more explicitly. Moreover there may be reason to question the usefulness of the standard set of distinctions (‘adaptation’, ‘spandrel’, ‘technology’) that Davies appeals to. (shrink)

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. (shrink)

Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, in particular (...) to his Notebooks, Bartalesi and Portera attempt to provide an alternative explanation for the emergence and development of human aesthetic preferences, beyond the dichotomy of nature and culture. (shrink)

Allen Carlson has argued that a proper aesthetics of nature must judge nature for ‘what it is’, and that such judgements must be informed by a scientific understanding of nature, in particular, one shaped by the science of ecology. Carlson uses these claims to support his theory of positive aesthetics. This paper argues that there are problems in this view. First, it misunderstands ecology, thereby adopting a view of the natural world that holds it to be much more (...) integrated than it is. Second, it ignores an even more fundamental science of nature, evolution. Thus, it misunderstands both ecology and nature. An alternative to this view would be an aesthetics based on an evolutionary understanding of nature, which holds that, although there are many functional wholes in nature, there is also significant conflict, disintegration, and incongruent scales. A proper aesthetics of nature must take these conflicts into account. The paper ends with a sketch of an aesthetic theory based on the science of evolution. (shrink)

Where does our sense of beauty come from? Traditional interest in evolutionary aesthetics has proceeded by an almost exclusive focus on Darwin’s Descent of Man, which theorizes the origin of the human aesthetic sense as an instrumental feature of sexual desire. But what if the Descent only gives us half of the story? I argue that we have overlooked a key element in Darwin’s aesthetics that is more readily available in On the Origin of Species, a form (...) of aesthetic experience he associates with “cultivated men.” Instead of an explicit scientific theory of aesthetic pleasure, the Origin provides evidence of this “cultivated” beauty as a narrative practice of aesthetic judgment with specific reference to an evolutionary phenomenon Darwin calls “coadaptation.” I conclude by addressing the demands this new evidence makes on any valid understanding of evolutionary aesthetics and suggest a preliminary model of aesthetic education that could facilitate collaborative dialogue in an increasingly recalcitrant two-cultures debate. (shrink)

The aesthetic sense we inherited from our successful ancestors drew them toward conditions that made for survival and reproductive success and repelled them away from conditions that impacted negatively on longevity and fertility. But for them, as for us, those desirable outcomes were incidental and uncalculated. Their search was for the beautiful and sublime. Aesthetic behaviours are apparent in our forerunner species about 400,000 years ago. They sometimes made symmetrical hand axes that were then not used. We can take an (...) aesthetic interest in more or less anything, but the aesthetic responses that are rooted in our biology include those to landscapes and environments, to non-human animals, and to the appearance and behaviour of our fellow humans. (shrink)

Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, (...) suggesting that these were present in early sapiens and continue to influence human art making and aesthetic response today. Keywords: Aesthetic Mind; Neuroaesthetics, evolutionary aesthetics, cognitive aesthetics, evolution of art. (shrink)

Common philosophical accounts of creativity align creative products and processes with a particular kind of agency: namely, that deserving of praise or blame. Considering evolutionary examples, we explore two ways of denying that creativity requires forms of agency. First, we argue that decoupling creativity from praiseworthiness comes at little cost: accepting that evolutionary processes are non-agential, they nonetheless exhibit many of the same characteristics and value associated with creativity. Second, we develop a ‘product-first’ account of creativity by which (...) a process is creative just in case it gives rise to products deserving of certain forms of aesthetic engagement. (shrink)

The Aesthetic Brain takes the reader on a wide-ranging journey addressing fundamental questions about aesthetics and art. Using neuroscience and evolutionary psychology, Chatterjee shows how beauty, pleasure, and art are grounded biologically, and offers explanations for why beauty, pleasure, and art exist at all.

As a category, poiesis can be extended beyond the standard anthropocentric use and applied across three radically different scales: auto-poiesis in everyday self-organization of every living creature, phylo-poiesis in the shaping of a species by sexual selection across various generations and onto-poiesis as an individual's development of formal skills and creative modification of its environment. In this paper, I apply these distinctions and argue, following Darwin and Sebeok, for the possibility of considering poietic and aesthetic manifestations among various animal species (...) in their ability of both appreciating and expressing rhythm, visual decorative patterns, and chromatic qualities. In music we can find song and equivalents to instrumental playing (cicadas and crickets), theater in representing fictitious situations (killdeer's broken wing act and playing), acrobatic skills (various types of woodcocks and paradise birds) and dancing (cranes and eleonora cockatoo). I do not claim there is animal art, since the very concept of the “artistic” is a result of convention. What I do assert, however, is that human aesthetic appreciation did not emerge ex nihilo nor was granted by God to humans only (as Wallace believed) but has evolutionary relevance and is preceded by the zoo-aesthetics in many other species. (shrink)

Starting from the assumption that art, being a pervasive human behaviour across time and space, must have an evolutionary adaptive purpose, the Author claims in this paper that art making has evolved as a behaviour that serves to bind individuals together into cooperative groups. In more detail, the Author demonstrates here the adaptive value of art behaviour by showing how art can evoke fear and how it can evoke pleasure.

This article’s main thesis is that aesthetic communication has evolved from animal social play to forms of extraordinary complexity such as traditional arts, helping to preserve and transfer survival oriented information in a preverbal, or embodied form. Following this line of argument, aesthetic communication provides the basis for an adaptive modeling of reality wherein the agents engaged simulate potential exchanges and outcomes with factual or fictive entities, further enhancing – by proxy – their ability to predict and adapt to natural (...) and intentional contingencies. By means of aesthetic communication human cognition has become distributed, i.e. off-loaded in the practices, customs and emotional templates readily available in culture. In this light, the decline of traditional societies and the isolation of art practices that results from it, are to be considered subjects of scientific concern in addressing the societal and ecological crisis we confront today. (shrink)

Are there any theoretical resources – conceptual, lexical or argumentative ones – in the interdisciplinary debate on the evolutionary origins of the arts that can help us go beyond the traditional autonomistic conception of art, in favour of a more continuist and inclusive interpretation of human artistic practices? The paper examines the different voices in the debate, against the background of a cultural naturalist attitude inspired by John Dewey, by focusing on those contributions which can be interpreted in non-reductionist, (...) anti-foundationalist and pluralistic terms. What are particularly valuable are those positions emphasizing the phatic, communicative dimension of artifying behaviours in connection with the acute structural exposure of human organisms to their natural and naturally social environment. (shrink)

The Aesthetic Animal answers the ultimate questions of why we adorn ourselves, embellish our things and surroundings, and produce art, music, song, dance and fiction. It is written in a lively and entertaining tone, with beautiful color illustrations. This must-read presents an original and comprehensive synthesis of the empirical field, synthesizing data from archeology, cave art, anthropology, biology, evolutionary psychology and neuro-aesthetics.

On the basis of archaeological data and cognitive research, this article proposes an evolutionary story about aesthetic experience, arguing three intertwined theses. Aesthetic experience is adaptive; that is, it represents a specific implementation of the epistemic goal of knowing. It refunctionalizes antecedents and precursors: play and dreaming, technology and the ability to manipulate, and proto-aesthetic elements and aesthetic preferences. Mind and aesthetic experience co-evolve; that is, aesthetic experience requires mind reading and metacognition, and it helps them to reach their (...) advanced metarepresentational architecture. (shrink)

An inner transhumanism: modernism and cognitive evolution -- Astounding transhumanism!: evolutionary supermen and the golden age of science fiction -- Toward omega: hedonism, suffering, and the evolutionary vanguard -- Transhuman aesthetics: the new, the lived, and the cute -- Acceleration and evolutionary futurist utopian practice.

In his earliest philosophical work, Moritz Schlick developed a proposal for rendering aesthetics into a field of empirical science. His 1908 book Lebensweisheit developed an evolutionary account of the emergence of both scientific knowledge and aesthetic feelings from play. This constitutes the framework of Schlick’s evolutionary psychological methodology for examining the origins of the aesthetic feeling of the beautiful he proposed in 1909. He defends his methodology by objecting to both experimental psychological and Darwinian reductionist accounts of (...) aesthetics. Having countered these approaches, Schlick applies Külpe’s psychological distinction between stimulus-feelings and idea-feelings to collapse the traditional philosophical opposition between the agreeable and the beautiful. Both types of feeling, Schlick argues, result from humans’ adaptation to their environment. Because of this adaptation, feelings that were once only stimuli for action can come to be enjoyed for their own sake. This thesis underlies Schlick’s 1908 argument that art, qua mimesis, is necessarily inferior to aesthetic feelings directed towards the environment. Part of Schlick’s justification for this view is that humans are, through a long evolutionary process, better adapted to their environment than to artworks. Schlick nevertheless concedes that mimetic art can involve ways of abstracting from the objects it copies to produce idealised regularities that are not found in the original. Schlick thus concludes that art teaches its audience how to perceive the world in this abstract and idealised manner. This type of environmental aesthetics constitutes a means for reaching Schlick’s utopian ecological vision of a future in which culture will become harmonised with nature. (shrink)

My question in this paper started from how the goal of social growth in a democratic society can be a proper aim for the teaching of philosophy. Furthermore, I wondered what “genuine” social growth meant in our quest to build a theoretical foundation for the teaching of philosophy. For this investigation, I reviewed first the pragmatic notion of Dewey’s social inquiry and social growth. I realized that Dewey’s ideal communication for a democratic community has an aesthetic feature and even some (...) characteristics we find in a religious faith. By means of such recognition, I could easily move to the inquiry of the Peircean conception of “progress,” which provides us a certain viewpoint of American philosophy in relation with Emersonian spirit. It is a mode of evolution based on a creative love of agapasm. From the point of Peirce’s “evolutionary love,” I come to conclude that genuine social growth toward which our teaching philosophy should aim is evolutionary creativity itself, rather than any given social goal under the name of national ethics or civic morality. Only “love” as a sympathetic power with purposivespontaneity can make genuine progress in communal life. A community cannot be substantially developed unless the creative love lives in the relationships among the members and their thoughts. This is to manifest again the main features of pragmaticism: interactive relationship, integrating process, and spontaneous continuity. Related to such pivotal characteristics, I think another mode of social inquiry in teaching philosophy creates the possibility of expanding our goal into a certain spiritual domain in reconsidering Peircean pragmatism within an evolving process. This kind of reconstruction of Pragmatism will help us to dig into a broad perspective of Philosophy Education in the 21st century.(*). (shrink)

In late winter of 1864, Charles Darwin received two folio volumes on radiolarians, a group of one-celled marine organisms that secreted siliceous skeletons of unusual geometry. The author, the young German biologist Ernst Haeckel (fig. 1), had himself drawn the figures for the extraordinary copper-etched illustrations that filled the second volume.1 The gothic beauty of the plates astonished Darwin (fig. 2 ), but he must also have been drawn to passages that applied his theory to construct the descent relations of (...) these little known creatures. He replied to Haeckel that the volumes "were the most magnificent works which I have ever seen, & I am proud to possess a copy from the author."2 Emboldened by his own initiative in contacting the famous naturalist, Haeckel, a few days later, sent Darwin a newspaper clipping that described a meeting of the Society of German Naturalists and Physicians at Stettin, which occurred during the previous autumn. The article gave an extended and laudatory account of Haeckel's lecture defending Darwin's theory.3 Darwin immediately replied in his second letter: "I.. (shrink)

Recent discussion of the arts has grown increasingly sympathetic to evolutionary psychology, a trend vividly captured in Denis Dutton's recent book The Art Instinct. Yet evolutionary psychologists have paid startlingly little attention to pragmatism, despite the fact that pragmatists also work in Darwin's wake and often interrogate the “two cultures” divide. An extended comparison of pragmatist and evolutionary aesthetics can help us recognize the more layered notion of “nature” running through pragmatism, and help us articulate what (...) matters most for us in the understanding of literary and other aesthetic phenomena. (shrink)

The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, and (...) in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes: · A new chapter on the sublime, the picturesque, and the beautiful · Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures · A new chapter on the aesthetic appreciation of animals · An in-depth analysis of the appreciation of nature through cinema and photography · Discussion of the relation between environmental appreciation and climate change __ Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, _Aesthetics and Nature_ explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment. (shrink)

The study of aesthetics concerns the arts broadly conceived, as well as the nature of aesthetic experience, which includes our responses to beauty, sublimity, ugliness, and other such qualities found in works of art, nature, the built-environment and in the course of everyday life. Although the term "aesthetics" to denote this area of study goes back only to the eighteenth century with the work of Alexander Baumgarten, the field has had a long and distinguished history dating back to (...) classical antiquity. Aesthetics is currently the scene of provocative philosophical exploration, and one which has become increasingly connected to work in disciplines outside of philosophy such as art history, psychology, neuroscience, evolutionary biology, gender studies, and critical race theory. (shrink)

£ British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] unique and sprawling collection of sixteen essays explores a wide range of perspectives on the human body and how it is embodied, lived, viewed, perceived, and constructed by ourselves and by others in both positive and harmful ways. The book’s contributors include philosophers, sociologists, anthropologists, and artists, as well as scholars who (...) focus on law, culture, and on Africana, race, gender, sexuality, and disability studies. In addition, the authors represent a diverse group of scholars whose personal and societal experiences are also part of the discussion. Centred in philosophical aesthetics, this book moves into and explores fields of everyday and somatic experience, evolutionary psychology, art, ethics, personal identity, and socio-political status and treatment. It shows how bodies are... (shrink)

Where does the human aesthetic come from? How does it develop? By introducing the notion of the ‘niche’ as a key term in an empirically and evolutionarily informed aesthetics, this paper aims to take a fresh look at these and similar questions. It also aims to shed new light on the development and functioning of the aesthetic capacity in humans and its trans-generational transmission. Drawing on recent research developments in evolutionary biology, developmental psychology, and cognitive sciences, I shall (...) argue that the human aesthetic capacity—which I understand as the capacity, involving perceptual, cognitive and emotional processes, to enter into a pleasurable/non-pleasurable and expressive relation with objects, artworks, natural phenomena, or other people—relies on constructed environmental resources for its emergence and its ontogenetic development. (shrink)

This paper argues that the cognitive sciences need to incorporate aesthetic study of the arts into their methodologies in order to fully understand the nature of human cognitive processes, because the arts reflect insights into human experience that are unobtainable by the methodologies of the natural sciences. These insights differ from those acquired by scientific exploration because they arise not from the conceptual logic of reason but from the precategorial intuition of imagination. Aesthetics provides a methodology whereby we are (...) able to understand how art enables us to experience emotions caused by sense impressions. This methodology lies at the heart of Giambattista Vico’s Principi di scienza nuova (1725-44), which attempts to account for the way we live and participate in cultural, social, and civic communities. Vico’s theory challenges certain Western philosophical presuppositions that still inform much of cognitive science, such as the relation of language to our experience of the natural world, the nature of subjective and objective representations, and the role of the arts in the evolutionary development of the human mind. In basing my approach to literature on Vico’s, Susanne K. Langer’s (1953, 1967) and Merleau-Ponty’s (1962[1945], 1968) theories, I argue that the language of literature is distinguished from conventional language use by its imaginative use of aesthetic patterns that make manifest the inherent character of the external world as we experience it. By introducing the concepts of minding, metaphor, and icon as structures of the imagination, I show how the language of poetic expression in Matthew Arnold’s poem, “Dover Beach,” enables us to apprehend the ways in which we intuitively participate in the reality that underlies our conscious experience. Such participation occurs because sensory impressions of the world we experience cause modifications in the human mind that result in affective responses. Current research in the cognitive sciences increasingly indicates that such modification occurs; aesthetic study of the arts provides a means whereby we can know what it is like to experience such modifications. (shrink)

The essays deal with the aesthetic and aesthetics; Bourdieu's critique of aesthetics form and content in the arts, musical formalism, the nature and value of literature, Heidegger's philosophy of art, postmodernism and history, Lyotard and the sublime, and the challenge of evolutionary psychology to the humanities.

This analysis summarizes conclusions on an evolutionary model for the origin of moral and religious capacities in the genus Homo. The authors’ published model (2020, Routledge) is now extended to the emergence of nascent theological thinking, augmenting the previous line of theory based on genomics, cognitive science, neuroscience, paleoneurology, cognitive archaeology, ethnography, and modern social science. This analysis concludes that findings support the earliest theological thinking in Homo sapiens, but not in an earlier species, Homo erectus, and clarifies why (...) and when it likely began. Types of anatomy, behavior, neurology, and cognition are presented that support tendencies to frame a structure of religious principles and a set of supernatural figures that early humans would consider right, just, exemplary, and even sacred. Stages of emergent physical, behavioral, and cognitive features are presented in tables. While based on published research results in the sciences, the model is presented here with anticipation of future testing. (shrink)

A fetish is a specific emotionally loaded object, body part, or situation that draws our attention and desire, and sexual fetishism is the sexual arousal that a person experiences when in contact with such a loaded object. Until now, psychology has had trouble understanding the distinctive lust objects and the orchestration of urges in the world of fetishism, so fetishism has therefore fallen into the category of perversions and abnormal behavior. In this study, fetishism is moved to the field of (...) aesthetics, and a new theory is presented: Fetishism is the attraction to certain species-specific key stimuli that are perceived as especially beautiful and exciting. A topic or an object that contains important key stimuli automatically becomes apower object or a fetish.Therefore, we have to look into the innate sensibilities on which our aesthetics are based and into the micro-processes of the aesthetic impulse to understand why something captivates and fascinates us in a fetishist way. (shrink)