The contribution examines the aesthetic aspect of cognition in Kant by exploring the central function of the power of the imagination (Einbildungskraft) in Kant’s critical epistemology, first featured in the Critique of Pure Reason (1781; 1787) and revisited in the Critique of the Power of Judgment (1790). First, the focus will be on the relationship between the power of the imagination and the two main sources of (theoretical) cognition in Kant, viz., sensibility and the understanding. Second, special (...) attention will be devoted to the distinction between schema and symbol, as alternative products of the power of the imagination in the service of rendering discursive concepts intuitive – with schemata serving to make sensible the concepts of the understanding (Verstand) and symbols suited to provide intuitional counterparts to the concepts of reason (Vernunft). (shrink)

Aesthetic experiences play an important role in human culture and spiritual life and are closely related to aesthetic perception and appreciation of art, music, literature and natural landscapes. With the development of neuroscience and cognitive psychology, our understanding of aesthetic experiences continues to deepen; in this context, the study of neuroplasticity has attracted widespread attention. This study explores in detail how this process affects the perception of aesthetic cognition, thereby enhancing the aesthetic experience in (...) several key ways. The study finds that neuroplasticity plays a role in the evolution of an individual’s perception and appreciation of beauty, as it facilitates adjustments in perception, attention, emotion, and cross-perceptual integration based on individual experiences. These findings provide a theoretical basis for deepening the perception and appreciation of beauty and insights to better understand and advance the aesthetic experience provided by art, music and literature. Future research will explore how to maximise the use of neuroplasticity to enhance the quality and depth of the aesthetic experience, advance the field of aesthetic psychology and art research and further enrich and satisfy individuals’ perception and experience of beauty. (shrink)

The purpose of aesthetic research is to uncover the internal method in human aesthetic behaviors and to answer the following questions: Where do beautiful things come from? Why are things beautiful? What is the reason that some things are beautiful while others are not? How can people derive aesthetic pleasure? Until those fundamental problems are solved, further questions cannot be answered, such as “Why do some people like certain things, while other people like other things?” and “How (...) does human aesthetic taste develop?”The aesthetic study established by the Greek philosophical aesthetician Plato is an ontological approach that suggests that there is something decisive in beautiful things that makes them... (shrink)

The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own (...) meta-logic. Thus, aesthetics is a form of cognition. Scientists think not in equations or words or other logical abstractions, but emotionally and sensually, using visual and aural images, kinesthetic and other proprioceptive feelings, sensations, patterns, and analogies. These aesthetic forms of thinking have their own logics that I call "synosia", from the root words synaesthesia (a combining of senses) and gnosis, "to know". Synosia denotes understanding that integrates feeling that one knows with feeling what one knows. Eminent scientists universally describe an explicitly secondary process in which such personal knowledge must be "translated" into a formal language, such as words or equations, in order to be communicated to other people. Many of the unsolved problems that philosophers of science (as well as psychologists and artificial intelligence researchers) have had in making sense of scientific thinking have arisen from confusing the form and content of the final translations with the hidden means by which scientific insights are actually achieved. (shrink)

This thesis constructs an Interactive Theory of Beauty to change the way we think about beauty and aesthetic form, in order to resolve the conceptual discrepancies between the features that characterize the traditional concept of beauty and the features of the phenomenology of beauty. The assumptions that underlie these discrepancies are identified. I hypothesize an alternative assumption that would need to be the case to resolve the tensions between the traditional concept and the phenomenology. This involves rejecting the idea (...) that beauty is an objective property of the object, and instead considering the possibility that beauty is an awareness of a certain aspect of the perceptual processing of the object. As such, beauty would be neither purely subjective nor purely objective; but a relational property. This hypothesis is mapped out in terms of a computational model of perception. The argument relies on the explanatory power of this conception of beauty. I employ my central hypothesis to explain how beauty can be both universal and subjective; an experience of the aesthetic form of the object which can, in some cases, supervene on representational content; and a property which is experienced as inferred from more basic properties, yet ineffable. While I focus mainly on visual beauty, I suggest applications for musical beauty and haptic beauty, particularly in non-sighted persons. This Interactive Theory of Beauty also accounts for the instrumentality of beauty, which is a feature of scientific and mathematical beauty. If my central hypothesis is correct, then the experience of beauty may offer insights into the nature of creativity in all fields of enquiry. (shrink)

Ruben Berrios Queen’s University Belfast Anti-realism and Aesthetic Cognition Abstract At the core of the debate between scientific realism and anti-realism is the question of the relation between scientific theory and the world. The realist possesses a mimetic conception of the relation between theory and reality. For the realist, scientific theories represent reality. The anti-realist, in contrast, seeks to understand the relations between theory and world in non-mimetic terms. We will examine Cartwright’s simulacrum account of explanation in order (...) to illuminate the anti-realist position. Science consists of phenomenological and theoretical laws. The former are concerned with appearances, or those phenomena that can be directly observed; the latter involve the unobservable reality that is alleged to underlie appearances, and are capable only of indirect confirmation. Phenomenological laws are said to be descriptive, whilst theoretical laws are understood as explanatory. Cartwright is concerned with the theoretical. She claims that the standard realist account of the explanatory efficacy of theoretical laws is faulty. The explanatory power of theoretical laws consists in their ability to provide an explanation of physical phenomena. According to Cartwright, the realist claims that laws explain phenomena by providing an abstract description of them, in terms of their micro-structural features, that is alleged to be true. On this view, explanatory power is entirely dependent on descriptive adequacy. As phenomenological laws describe appearances, so theoretical laws describe the fundamental reality that governs appearances. Cartwright rejects the preceding view and in its place proposes a simulacrum account of explanation. According to Cartwright, the explanatory power of theoretical laws is related not to descriptive adequacy, but rather to the construction of adequate models. To explain a phenomenon is to construct a model which best or most adequately accommodates the phenomenon to a theory. The model will consist of various posited objects that serve to explain the phenomena in terms that are consistent with a set of theoretical laws. Cartwright claims that theoretical laws are true of, or describe, the objects of the model. The objects of the model, however, are not descriptive of reality. They are simulacra. They have, that is, the form or appearance of things, without possessing their substance or proper qualities. In light of the foregoing account we can summarise the distinction between scientific realism and anti-realism as follows. The realist claims that theoretical laws literally represent real objects. The anti-realist claims that laws represent objects of a model that are simulacra of reality. Anti-realism has an aesthetic dimension. The movement from realism to anti-realism is also the movement from the mimetic conception of the scientist as holding a mirror to nature to the constructionist view of the scientist as engaging with nature through invention. There is a lot of the artist in the anti-realist’s view of the scientist. This is true for Cartwright as well as, for example, Van Fraassen in his doctrine of constructive empiricism. It would appear, then, that the philosophy of science has absorbed some concepts that are ordinarily housed in aesthetics. And it has done so profitably. The aim of this paper is to reverse the direction of disciplinary influence. Can art, in relation to its status as a cognitive enterprise, be illuminated by scientific anti-realism? I will argue that it can. In an unexpected reference to the Nicomachean Ethics, Cartwright draws a suggestive parallel between theoretical laws and general moral principles, on the one hand, and physical phenomena and everyday moral conduct, on the other hand. If we add to this the claim that a central component of art’s value is cognitive, then we have the basic materials with which to flesh out a broadly anti-realist view of art. In the production of art, artists can construct models that mediate between everyday ethical phenomena and general ethical tendencies. These models reveal the ways in which there are implicit consistencies or inconsistencies, conflicts or congruences and so forth, between the phenomena and the tendencies. On this basis art can contribute to the reflective understanding of ethical life. This constitutes to a large degree art’s status as a cognitive enterprise. To apprehend art cognitively as artist or critic is to engage in aesthetic cognition. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

Recent advances in out understanding of the cognitive neuroscience of perception have encouraged cognitive scientists and scientifically minded philosophers to turn their attention towards art and the problems of philosophical aesthetics. This cognitive turn does not represent an entirely novel paradigm in the study of art. Alexander Baumgarten originally introduced the term ‘aesthetics’ to refer to a science of perception. Artist’s formal methods are a means to cull the structural features necessary for constructing clear perceptual representations from the dense flux (...) of sensory information in conscious experience. therefore, he interpreted artist’s formal methods as tools for studying the structure of perception. Art was a field whose interests coincidentally overlapped with aesthetics. In what follows I examine three approaches to cognitive science and aesthetics that rest on a tacit assumption of Baumgarten’s program. I argue that whereas this new research can explain how viewers perceptually recover the content of artworks, it does not explain what makes those works aesthetically interesting. Therefore, the challenge for cognitive science and aesthetics is to tie the perceptual practices of artists and viewers to their more narrowly construed aesthetic, or artistic, practices. What is needed to establish this link is an interpretation of Baumgarten’s original definition of aesthetics that treats attention to the way the formal structure of an artwork works to convey its content as a source of aesthetic interest. Unfortunately this interpretation is not transparently established by explanations of the perceptual practices of artists and viewers. I conclude that it remains an open question whether this research can contribute to philosophical aesthetics. (shrink)

This book seeks to fill a void in contemporary aesthetics scholarship by considering the cognitive features that make the aesthetic and artistic worthy of philosophical study. Aesthetic cognition has been largely abandoned by analytical philosophy, which instead tends to focus its attention on the ‘non-exhibited’ properties of artwork or issues concerning semantic and syntactic structure. The Cognitive Basis of Aesthetics innovatively seeks to correct the marginalization of aesthetics in analytical philosophy by reinterpreting aesthetic cognition through (...) an integration of Ernst Cassirer’s philosophy of symbolic forms with Paul Crowther’s theory of imagination and philosophy of art. This integration has three important outcomes: 1) it explains why the aesthetic and artistic constitute a unique form of knowledge; 2) it shows the role this plays in the formation of aesthetics as a discipline; and 3) it describes why aesthetic cognition is so deeply engaging. This book’s unique theoretical approach engages with important works of visual, conceptual, and digital art, as well as literature, music, and theatre. (shrink)

The Poem as Icon: A Study in Aesthetic Cognition FREEMANMARGARET H.oup. 2020. pp. 216. £64.00.

In Between Literature and Science Peter Swirski examines the true intellectual scope of Edgar Allan Poe and Stanislaw Lem.

This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behaviour. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of the seven essays identifies a problem in music psychology that is relevant to (...) an explanation of the musical process, reviews the literature relevant to that problem, and, through systematic philosophical analysis, offers a solution. This book should be of interest to music philosophers, and psychologists working in the areas of cognition, aesthetics, music theory, music education, and music therapy. (shrink)

In Schopenhauer’s view, the whole organic and inorganic world is ultimately governed by an insatiable, blind will. Life as a whole is purposeless: there is no ultimate goal or meaning, for the metaphysical will is only interested in manifesting itself in (or as) a myriad of phenomena, which we call the “world” or “life.” Human life, too, is nothing but an insignificant product or “objectivation” of the blind, unconscious will, and because our life is determined by willing (that is, by (...) needs, affects, urges, and desires), and since willing is characterized by lack, our life is essentially full of misery and suffering. We are constantly searching for objects that can satisfy our needs and desires; once we have .. (shrink)

This volume explores the relationship between Kant's aesthetic theory and his critical epistemology as articulated in the Critique of Pure Reason and the Critique of the Power of Judgment. The essays, written specially for this volume, explore core elements of Kant's epistemology, such as his notions of discursive understanding, experience, and objective judgment. They also demonstrate a rich grasp of Kant's critical epistemology that enables a deeper understanding of his aesthetics. Collectively, the essays reveal that Kant's critical project, and (...) the dialectics of aesthetics and cognition within it, is still relevant to contemporary debates in epistemology, philosophy of mind, and the nature of experience and objectivity. The book also yields important lessons about the ineliminable, yet problematic place of imagination, sensibility and aesthetic experience in perception and cognition. (shrink)

BackgroundDespite severe cognitive dysfunction in Alzheimer's disease, aesthetic preferences in AD patients seem to retain some stability over time, similarly to healthy controls. However, the underlying mechanisms of aesthetic preference stability in AD remain unclear. We therefore aimed to study the role of emotional valence of stimuli for stability of aesthetic preferences in patients with AD compared to cognitively unimpaired elderly adults.MethodsFifteen AD patients score 12–26) without visual impairment and/or psychiatric disorder, as well as 15 healthy controls (...) without cognitive impairment matched in age, sex, art interest and highest level of education were included in this study. All participants were asked to rank-order eight artworks per stimulus category according to their preference twice with a 2-week span in-between. Based on these two rankings a preference change score was calculated. In order to assess explicit recognition memory of the artworks in the second testing session, four artworks of each stimulus category used in the preference ranking task were presented together with a content-matched distractor artwork painted by the same artist. Participants had to indicate which of the stimuli they had seen 2 weeks previously.ResultsAD patients [MMSE = 18.9 ± 3.6; Age = 85.4 ± 6.9; 33.3% male] had no explicit recognition memory of the artworks, whereas healthy controls [MMSE = 27.7 ± 1.4; Age = 84.3 ± 6.7; 33.3% male] correctly recognized 85% of stimuli after 2 weeks. AD patients had equally stable preferences compared to the control group for negative artworks, but less stable preferences for positive and neutral images.ConclusionEven in cognitively impaired AD patients, aesthetic preference for negatively-valenced artworks remains relatively stable. Our study provides novel evidence that AD patients may have a somewhat preserved implicit valence system for negative compared to neutral or positive visual information, especially in the domain of aesthetics. However, more studies need to further uncover the details of the underlying neurocognitive mechanisms of preference stability in pathological aging. (shrink)

Modern television is awash in programs that focus on the rough hero, a protagonist that is explicitly depicted as immoral. In this paper I examine why audiences find these characters so compelling, focusing on archetypal rough heroes in two programs: The Sopranos and Breaking Bad. I argue that the ability of rough-hero programs to engender a certain degree of empathy for morally deviant characters despite viewers' resistance to empathizing with these characters' moral views is an aesthetic achievement. In addition, (...) I argue that empathy for the rough hero has cognitive value in that it enables us to reflect on the nuances of the psychology underlying moral deviance. In defending these claims, I offer my view as an alternative to A.W. Eaton's robust immoralist view that the aesthetic value of rough-hero programs lies in their ability to make audiences empathize with immoral perspectives; my claim is that empathy for rough heroes does not extend to their moral outlooks. My view also provides an alternative to Matthew Kieran's cognitive immoralist view that a work's depiction of immorality has cognitive value insofar as it imparts a normative lesson; my claim is that rough-hero programs are cognitively valuable not because they teach us about the perils of acting immorally, but because they help us understand the moral psychology that underlies immoral behavior. I defend an interpretation of rough-hero programs that incorporates insights from Eaton's and Kieran's immoralist views but does not support immoralism. (shrink)

The book is a second volume of the project, which is focused on a systematic examination of aesthetic experience by the unification of philosophical and cognitive-scientific approaches to beauty and aesthetic experience. This volume is focused on the analysis of selected aspects of aesthetic experience, especially on methodological problems and aspects of philosophical and scientific research, the question of the complementarity and compatibility of methods, and needs to interdisciplinary and multidisciplinary research. Authors of the chapters are considering (...) about diverse areas of perception of beauty, e.g.: pleasure by face perception; the synchronicity by music; the problems of musical chills; the psychosomatic unity of dance; or the problem of development of aesthetic appreciation. (shrink)

This article proposes to elaborate aesthetic judgment. The context is John Dadosky’s call for such an elaboration in light of the theological and philosophical import of a recovery of beauty. Following Dadosky’s suggestion that this be set within Lonergan’s appeal to interiority, the article signals two points in Dadosky’s program: patterns of experience and the role of cognitional operations. The article turns to Mikel Dufrenne’s work on the phenomenology of aesthetic experience. Based on this work, data is presented (...) on behalf of configuring a pattern of cognitional operations that is specific to aesthetic experience and that exemplifies Lonergan’s general empirical pattern of cognitional operations: experience, understanding, judgment. (shrink)

In my general aim to probe a non-reductionist Philosophy of Cognitive Enhancement, considering social self-other relations and the epistemic 2PP in social syn-aesthetic tuning-ins, synchronisations and tuning-outs, this paper amplifies the Aristotelian common sense concept κοινὴ αἲσθησις2 by analysing the concept and metaphor of “resonance”3 in contemporary debates on >resonance< as acoustic and multimodal figure of thought. Resonance as shown in scientific models derived from acoustics will be applied to an aesthetic comunity of sensing and making music together (...) as explored in Alfred Schütz, as well as in social relations in social psychology. Finally, this paper puts resonance to test as well in technical atunements of social relations and closes with the necessary resistance to imposition of social resonance, introduced in this paper as xenoresonance. (shrink)

This is the first book on the role of cognition in the aesthetic theory of Li Zehou (1930–2021), one of China's most important and influential contemporary philosophers. The cognitive dimension and its integration with practice is discussed by examining one of Li's pivotal concepts: "subjectality," a human subject shaped by the world in which they live, including beauty and aesthetic experience. Li's theory is also contextualized in the threefold inspiration coming from Confucian, Kantian, and Marxist philosophies, which (...) differently conceptualize the aesthetic and cognitive dimensions in humans. By referring to different aesthetic theories and interdisciplinary approaches to cognition, the book aims to show how Li's cognitively oriented project can contribute to contemporary research into aesthetics. Although primarily written for philosophers working in aesthetics, Chinese, and comparative philosophy, the book is also addressed to anyone interested in contemporary Chinese thought. (shrink)

When we judge something to be beautiful, do we identify an inherent feature of the object, or only our subjective response to it? This paper argues that, for Kant, pure aesthetic judgment occupies a middle ground. Such judgments are based upon affective responses to our own cognitive faculties. Thus, pure aesthetic judgment is subjective insofar as it concerns our feeling ourselves to be engaged in a certain task; it is objective insofar as the task we are engaged in (...) is cognition of an object, and the faculties that we are feeling to be at work are the cognitive faculties of the understanding and the imagination. This paper locates this interpretation in the text of the Critique of Aesthetic Judgment in the third Critique and uses it to make sense of many otherwise opaque features of Kant’s account of pure aesthetic judgment. (shrink)

The question of whether art is a source of knowledge is a question of epistemic as well as of aesthetic interest which has significant pedagogical implications as well. This issue, both in its epistemic and aesthetic dimensions, is addressed here under the general perspective of the contemporary cognitivist - anti-cognitivist debate. Consequently, it is asked: a) can art be a means of knowledge and if it does, is knowledge obtained through art of the same kind with scientific knowledge? (...) and b) if we accept that art actually offers some kind of knowledge, is this knowledge relevant to its aesthetic value, does it constitute an essential part of its functioning as art? The paper discusses the plausibility and consistency of the answers given to these questions either from the cognitivist or the anti-cognitivist point of view and argues that the importance and role attributed to art within the educational praxis, as well as its educational value per se, significantly depends on the kind of approach we adopt in regard to these questions. (shrink)

My aim in this paper is to propose a new categorization of a specific set of aesthetic concepts, using Sibley’s theory of the aesthetic concepts as a starting point. I discuss the status of aesthetic concepts connected with pleasure and the role of aesthetic pleasure. I examine Sibley’s theory and the importance of its results for the conceptual art. Then, I compare Sibley’s theory and Kant’s theory specifically on the theme of judgment, universal agreement and pleasure. (...) I finally propose to look at these theories as complementary (they deal with the same problems but Sibley takes an objective position, since his main focus is the object and its properties, while in Kant’s theory the focus is on the subject) since they achieve important results for the theory of aesthetic concepts, both from the perspective of the subject and from the perspective of the object. (shrink)

I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, and (...) the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)

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. (...) I argue that this putative conflict can be dissolved by paying attention to the productive role shared normative conventions play in our perceptual engagement with works of fine art. I sketch a hierarchical theory derived from a biased competition account of selective attention that can be used to model these cognitive influences in our engagement with artworks. (shrink)

This is an interdisciplinary study of what is cognitively going on when we interpret, respresent, or evaluate cultural entities, works of art included. In addition, the role of interpretation in experience and in cultural objects is elucidated from a cognitive point of view. The book relies on theories of action, perception, possible worlds, modalities, intentionality. cognition, and brain research, and it contains anumber of case studies. The book ptovides some new insights into some much-discussed problems related to interpretation.

Marcus Verhaegh - Aesthetics and Cognition in Kant's Critical Philosophy - Journal of the History of Philosophy 45:2 Journal of the History of Philosophy 45.2 336-337 Muse Search Journals This Journal Contents Reviewed by Marcus Verhaegh Grand Valley State University Rebecca Kukla, editor. Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge-New York: Cambridge University Press, 2006. Pp. xiii + 309. Cloth, $75.00. This collection of essays focuses on the Critique of Judgment, a work that offers material in aesthetics, (...) but that also has much to teach us concerning the nature of non-aesthetic judgment, concept formation, teleology, and the task of investigating both the natural and moral realms. The pieces in the collection reflect.. (shrink)

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)

Nanay has recently argued, on the basis of the cognitive penetrability of experience, that the attribution of aesthetically relevant properties supervenes on perceptual experience. I argue that this claim is false as stated and cannot be salvaged. I provide a series of thought experiments as counterexamples, showing that the title of an artwork can influence its ARPs, its meaning or value, and the accurate attributions of ARPs while the character of the perceptual experience of the piece remains constant. I introduce (...) the notions of context and appropriate context, and I argue that ARPs supervene on observable properties and appropriate contexts; there is no difference in ARPs without a difference in appropriate context or a difference in observable properties. Two paintings may share all of their observable properties and all of their context-relative perceptual properties but be ARP distinct, since each has a different appropriate context, and contexts are not usually determined or instant... (shrink)

Here is a puzzle about aesthetic education. In a variety of contexts, we commit significant time, energy, and resources to aesthetic education. We teach (and in many cases publicly subsidize) university courses and degrees that have aesthetic education as their primary aim; we also invest public resources into museums, including enrichment programs that are also designed to afford aesthetic education. It would seem that if our commitment to aesthetic education is rational, then aesthetic appreciation (...) is something that can be done better or worse. However, we also, in a variety of contexts (oddly enough, some of them being the same sorts of contexts that are designed to abet aesthetic education), act as if it is true that there is no disputing taste. We may try to persuade students to come around to particular judgments, but we do not penalize students for judging one way or another. The aim of this paper is to dissolve the apparent puzzle of aesthetic education by clarifying its aims and advancing a conception of it that deemphasizes the role of taste. I claim that, pace “the default view of aesthetic education” (as I shall call it), the primary purpose of aesthetic education is not to educate taste. It is, rather, to facilitate the development of certain perceptual-cognitive capacities so as to enhance aesthetic experience and improve aesthetic appreciation. Thus, I call the view of aesthetic education advanced here “a perceptual-cognitive model”. (shrink)

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to (...) the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. ists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. (shrink)

Human aesthetic practices show a sensitivity to the ways that the appearance of an artefact manifests skills and other qualities of the maker. We investigate a possible origin for this kind of sensibility, locating it in the need for co-ordination of skill-transmission in the Acheulean stone tool culture. We argue that our narrative supports the idea that Acheulean agents were aesthetic agents. In line with this we offer what may seem an absurd comparison: between the Acheulean and the (...) Quattrocento. In making it we display some hidden complexity in human aesthetic responses to an artefact. We conclude with a brief review of rival explanations—biological and/or cultural—of how this skills-based sensibility became a regular feature of human aesthetic practices. (shrink)

The key concept in Kant’s aesthetics is “aesthetic reflective judgment,” a critique of which is found in Part 1 of the Critique of the Power of Judgment (1790). It is a critique inasmuch as Kant unravels previous assumptions regarding aesthetic perception. For Kant, the comparative edge of a “judgment” implicates communicability, which in turn gives it a public face; yet “reflection” points to autonomy, and the “aesthetic” shifts the emphasis away from objective properties to the subjective response (...) evoked by the object. Contrary to the view he had inherited, Kant did not treat aesthetic judgments as confused perceptions or inferior cognitions, but rather put them in a category of their own. For Kant, aesthetic reflective judgments implicated not only the processes involved in understanding the empirical world but also the processes involved in ascribing ideas or meaning to experience (which go beyond what is given in perception/cognition). This “going beyond cognition” may have been referred to by Kant as non-cognitive, but it is conditioned on a way of cognizing the object. Kant describes the features of such judgments in the Analytic of the Beautiful before addressing their possibility in subtle ways throughout the Deduction of Pure Aesthetic Judgments. Kant’s critique gives rise to three apparent dichotomies: immediate intuition and prior learning; autonomy and communicability; and non-cognitive response and aesthetic ideas. An interpretation of Kant’s theory can be deemed correct to the degree that it succeeds in showing that the contradictions are only apparent. I will argue that the resulting positive account of Kant’s aesthetic theory offers an understanding of aesthetic reflective judgment that is quite different from the standard formalism that the critics of formalism usually target and by which they misrepresent Kant’s aesthetic theory. When I refer to Kant’s formalism, then, I mean something quite different by this than what is meant by “standard formalism.” The latter is the representation given Kant’s formalism by its contemporary critics and is the typical account of formalism found in the art theory and philosophy of art literature, as will be demonstrated. (shrink)

One challenge faced by aesthetics is the development of an account able to trace out the continuities and discontinuities between general experience and aesthetic experiences. Regarding this issue, in this paper, I present an enactive model of some raw cognitive dynamics that might drive the progressive emergence of aesthetic experiences from the stream of general experience. The framework is based on specific aspects of John Dewey’s pragmatist philosophy and embodied aesthetic theories, while also taking into account research (...) in ecological psychology, cognitive sciences, and dynamic systems theory. The model focuses on dynamically relevant nodes at the pre-reflective and the reflective side of experience that would work as nested rhythmic constraints at different cognitive timescales with the potential to shunt experiences toward the aesthetic in everyday situations. My proposal constitutes a way to explore aesthetic experiences from an enactive perspective that regards them as transformative events in which cognitive processes entrain and are entrained by changes taking place in the environment, the brain, and the body. (shrink)

This paper addresses two recent debates in aesthetics: the ‘moralist debate’, concerning the relationship between the ethical and aesthetic evaluations of artworks, and the ‘cognitivist debate’, concerning the relationship between the cognitive and aesthetic evaluations of artworks. Although the two debates appear to concern quite different issues, I argue that the various positions in each are marked by the same types of confusions and ambiguities. In particular, they demonstrate a persistent and unjustified conflation of aesthetic and artistic (...) value, which in turn is based on a more general failure to explicitly tackle the demarcation of aesthetic value. As such, the claims of each side are rendered ambiguous in respect of the relation that is supposed to hold between all these types of value and artistic value. These issues are discussed in light of a recent argument proposed by Matthew Kieran, to undermine, to some extent, the conceptual distinction between aesthetic, cognitive-ethical, and artistic values in our appraisal of art works. In rejecting his argument, I defend the conceptual distinction and a pluralistic conception of artistic value that allows for cognitive and ethical values to count as artistic, but not aesthetic, values. (shrink)

How does the mind lend itself to artistic creation and appreciation? How should we study minds and arts in ways that transform our understanding of both? This book examines the concepts of art and cognition from the complementary perspectives of philosophy, the empirical sciences, and the humanities. Central chapters combine examples of visual art, music, literature, and film with the properties of cognition that they illuminate, including 4E cognition, predictive processing, and theories of affect and emotion. These (...) aspects of cognition are undergoing theoretical shifts that complicate established understandings of the mind and its encounter with the arts. As the book takes stock of recent developments in aesthetics that have incorporated empirical findings (Naturalized Aesthetics), it also envisions a new generation of cognitive science with robust ties to history and literature (the Cognitive Humanities). In this way, Cognition and the Arts can be seen as a model of interdisciplinary scholarship. (shrink)

The cultivation of the imagination -- Enlightening thought: Kant and the imagination -- C.S. Peirce and the growth of the imagination -- Abduction: inference and instinct -- Imagining nature -- Ontology and imagination: Peirce on necessity and agency -- The evolution of the imagination -- Emergence, complexity, and creativity -- Be imaginative! suggestion and imperative.