This paper addresses theoretical challenges, still relevant today, that arose in the first decades of the twentieth century related to the concept of the organism. During this period, new insights into the plasticity and robustness of organisms as well as their complex interactions fueled calls, especially in the UK and in the German-speaking world, for grounding biological theory on the concept of the organism. This new organism-centered biology understood organisms as the most important explanatory and methodological unit in biological investigations. (...) At least three theoretical strands can be distinguished in this movement: Organicism, dialectical materialism, and holistic biology. This paper shows that a major challenge of OCB was to describe the individual organism as a causally autonomous and discrete unit with consistent boundaries and, at the same time, as inextricably interwoven with its environment. In other words, OCB had to conciliate individualistic with anti-individualistic perspectives. This challenge was addressed by developing a concept of life that included functionalist and metabolic elements, as well as biochemical and physical ones. It allowed for specifying organisms as life forms that actively delimit themselves from the environment. Finally, this paper shows that the recent return to the concept of the organism, especially in the so-called “Extended Evolutionary Synthesis,” is challenged by similar anti-individualistic tendencies. However, in contrast to its early-twentieth-century forerunner, today’s organism-centered approaches have not yet offered a solution to this problem. (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual cultural (...) education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

Introductory: Gombrich's Struggle Against Metaphysics The paper deals with E. H. Gombrich's lifelong polemics against metaphysics in art history and the humanities. They began in 1937 and continued up until his final (posthumous) book The Preference for the Primitives. Analyzing the "fallacies" and "pitfalls" resulting from metaphysical collectivism, essentialism, expressionism, holism and relativism such as a "belief in hypostatized collective personalities" and "style as a super-artist" or "physiognomic fallacy", Gombrich also unmasked their ideological implications. He first targeted nationalism and racialism, (...) then the perils of totalitarianism and finally all forms of relativism. Gombrich's plea for the universality of the "canon of excellence" can be regarded not only as a defence of humanism but also as a form of apology for the values of Western liberal democratic society. (shrink)

Preview: /Review: Timothy Morton, All Art is Ecological, (London: Penguin Books, 2021), 105 pages./ The book All Art is Ecological provides a provocative and entertaining, but no less concise and instructive study into the nature of the relationship between art and ecological awareness – from the perspective of one of the leading object-oriented ontologists of our time. In that sense, this book can also be read as a short introduction to Morton’s philosophy, which judging by his other books, provides solid (...) theoretical foundations for a critical reflection on the contemporary human condition. (shrink)

Please note that this article belongs to the Special Issue on “New Styles of Thought and Practices: Biology in the Interwar Period,” guest editors Jan Baedke and Christina Brandt, but was included in volume 52, issue 2, Summer 2019 by mistake. It should be regarded as part of this special issue collection of articles.

This paper explores and ultimately affirms the surprising claim that artificial intelligence (AI) can become part of the person, in a robust sense, and examines three ethical and legal implications. The argument is based on a rich, legally inspired conception of persons as free and independent rightholders and objects of heightened protection, but it is construed so broadly that it should also apply to mainstream philosophical conceptions of personhood. The claim is exemplified by a specific technology, devices that connect human (...) brains with computers and operate by AI-algorithms. Under philosophically reasonable and empirically realistic conditions, these devices and the AI running them become parts of the person, in the same way as arms, hearts, or mental capacities are. This transformation shall be called empersonification. It has normative and especially legal consequences because people have broader and stronger duties regarding other persons (and parts of them) than regarding things. Three consequences with practical implications are: (i) AI-devices cease to exist as independent legal entities and come to enjoy the special legal protection of persons; (ii) therefore, third parties such as manufacturers or authors of software lose (intellectual) property rights in device and software; (iii) persons become responsible for the outputs of the empersonified AI-devices to the same degree that they are for desires or intentions arising from the depths of their unconscious. More generally, empersonification marks a new step in the long history of human–machine interaction that deserves critical ethical reflection and calls for a stronger value-aligned development of these technologies. (shrink)

This paper explores and ultimately affirms the surprising claim that artificial intelligence (AI) can become part of the person, in a robust sense, and examines three ethical and legal implications. The argument is based on a rich, legally inspired conception of persons as free and independent rightholders and objects of heightened protection, but it is construed so broadly that it should also apply to mainstream philosophical conceptions of personhood. The claim is exemplified by a specific technology, devices that connect human (...) brains with computers and operate by AI-algorithms. Under philosophically reasonable and empirically realistic conditions, these devices and the AI running them become parts of the person, in the same way as arms, hearts, or mental capacities are. This transformation shall be called empersonification. It has normative and especially legal consequences because people have broader and stronger duties regarding other persons (and parts of them) than regarding things. Three consequences with practical implications are: (i) AI-devices cease to exist as independent legal entities and come to enjoy the special legal protection of persons; (ii) therefore, third parties such as manufacturers or authors of software lose (intellectual) property rights in device and software; (iii) persons become responsible for the outputs of the empersonified AI-devices to the same degree that they are for desires or intentions arising from the depths of their unconscious. More generally, empersonification marks a new step in the long history of human–machine interaction that deserves critical ethical reflection and calls for a stronger value-aligned development of these technologies. (shrink)

In the Middle Ages more than in other periods, eschatology informed the way people understood humankind and the world. The papers in the present volume are devoted to the complexity and interconnectivty of the eschatological orientation of the Middle Ages. Central topics are questions of the influence and formation of eschatological themes in philosophy and the significance of ideas of the final end in medieval political thought. In addition, there is a consideration of further themes from history, theology, art and (...) literature. The 29th volume of the Miscellanea Mediaevalia contains the papers delivered to the 32nd Cologne Medieval Studies Conference plus additional contributions. The volume includes five papers on the 50-year history of the Thomas Institute, which has been organising the Cologne Medieval Studies Conference for the last half century. (shrink)

The 13th century is often regarded as the epitome of the Middle Ages. The present volume aims to demonstrate new perspectives in research into this century. The main topics in the book are questions from the fields of theoretical and practical philosophy, theology, the history of institutions, problems in literature, art, learning and education, and cultural contact. This 27th volume of the Miscellanea Mediaevalia contains the papers delivered to the 31st Medievalists’ Conference held in Cologne in September 1998, together with (...) a number of additional contributions. In keeping with the basic idea of the Cologne Medievalists’ Conferences, the volume is divided into 10 sections containing the 38 papers from philosophy and history, literary history and theology, and the history of learning and the arts. (shrink)

Inspired by Hannah Arendt, this contribution offers an exercise of thought as an attempt to distil anew the original spirit of what education means. It tries to articulate the event or happening that the word names, the experiences in which this happening manifests itself and the (material) forms that constitute it or make it find/take (its) place. Starting from the meaning of scholè as ‘free time’ or ‘undestined and unfinished time’ it further explores scholè as the time of attention which (...) is the time of the regard for the world, of being present to it (or being in its presence), attending it, a time of delivery to the experience of the world, of exposure and effacing social subjectivities and orientations, a time filled with encounters. Education, then, relates to forms of profanation, suspension and attention and can be articulated as the art (the doing) and technology that makes scholè happen. (shrink)

ABSTRACTBased on an overview of the ways in which politics and the political have been thought in critical discourse analysis, the author calls for a focus on the metapolitical dimension of discourse. The author develops his notion of metapolitics on the basis of post-foundational insights into politics, the political and processes of politicization. Metapolitics refers to projects and struggles where conflicting modes and models of politics clash. Metapolitical debates potentially reshape the structure of the public realm as well as the (...) entities, borders and processes that constitute it. The author differentiates his descriptive and analytic use of the term from the way this signifier has been used programmatically by the anti-democratic New Right and its heirs. He demonstrates that metapolitical projects can be democratic as well as anti-democratic. In order to facilitate discourse analyses of metapolitical projects, debates and struggles, the author suggests that the metapolitical dimension of contemporary debates can be explored further by integrating insights from governmentality studies, studies of political rationality and the discourse theoretical logics approach with CDA. Moreover, a further exploration of the linguistic and textual underpinnings of metapolitics constitutes a promising pathway for future investigation. The study of metapolitics should be part and parcel of the transdisciplinary domain of critical discourse studies so that our understanding of the linguistic and non-linguistic features of metapolitical projects can be developed in equal measure at multiple levels of abstraction. (shrink)

Dealing with conflicts seems to be a great challenge in society today. But not only in society. Higher education displays an air of resoluteness with certainty and security that disguises the conflicts and the fear of conflicts in a substantial number of subjects. If not in a state of denial, higher education avoids taking up conflicts over issues, for learning. The detailed investigation of Tagore’s pedagogical writings, with a focus on the importance of conflicts in education, reveals a genuine embrace (...) of conflicts for education. Conflicts are natural and necessary for the development and change of both the individual and society and the start of a ‘creative imagination’ to solve the problems we face in life. Contradictions in conflicts are not incompatible incongruities that are irreconcilable and mutually exclusive, but to the contrary, in need of each other. Contradictions do not represent different worlds but are substantial parts of one world: together they form a unity. Conflicting forces are necessary to create harmony. Creativity, imagination, love, art, and critical encounters are key elements in Tagore’s practical education aimed at finding similarities among people instead of emphasizing differences. Relations between people over the Identity of people. In other words, we need conflicts to become creative and imaginative human beings. The paper continues discussing conceptual and practical issues that seem necessary to get the teaching of conflicts in education off the ground. On the conceptual level, in particular our dealing with uncertainty and fear, the valuation of conflict and the need for uncertainty-researching education. On a practical level, I propose a certain teaching model, a supportive curriculum, a way of choosing genuine conflicts for education and finally, I argue for specific support and education of teachers, acknowledging the vital role teachers play in delivering the education that we need. (shrink)

Bundel filosofische essays over kunst en esthetica.

The aim of this book is a recovery of interest in the experience of meaning. Jan Zwicky defends the claim that we experience meaning in the apprehension of wholes and their internal structural relations, providing examples of such insight in mathematics and physics, literature, music, and Plato's ancient theory of forms. Taken together, these essays constitute a powerful indictment of the aggressive reductionism and the reliance on calculative modes of thought that dominate our present conception of understanding. The Experience of (...) Meaning proposes a more just epistemology, arguing for a new grammar of thought, a new way of understanding the relationship of human intelligence to the world. Engaging with philosophy, psychology, literature, fine arts, music, and environmental studies in a profound way, The Experience of Meaning will interest any reader who ponders the question of meaning and its relation to true human expression. (shrink)

Following Foucault, ‘critique’ could be regarded as being the art not to be governed in this way or as a project of desubjectivation. In this paper it is shown how such a project could be described as an e‐ducative practice. It explores this idea through an example which Foucault himself gave of such a critical practice: the writing of ‘experience books’. Thus it appears that such an e‐ducative practice is a ‘dangerous’, public and uncomfortable practice that is not in need (...) of pastoral care but requires generosity, presence and attention. As such it demands a pedagogy of experience which is to be invented in order to ‘make’ oneself into a question, to transgress the limits of a governmental regime. (shrink)

In order to discuss our problem I propose to adopt a definition of art as an ensemble of man-made objects of specific character, of materials, tools and institutions, of people—those who produce and those who commission or look at works of art—and of techniques and skills mastered by the artists. Art—so broadly understood—has no sharp limits, it is an area connected by hundreds of links with the whole of social, economic, intellectual and spiritual life. It is exposed to various disturbances (...) since any one occurring in those other areas with which art is connected must of necessity affect art and its development to a greater or smaller degree. Lack of demand for some kind of artistic products must lead to the extinction of the corresponding kind of production. For instance, images of saints disappeared in those parts of Germany which adopted the Reformation. One can say in general, that, since various factors of social and economic character influence the life of art, it must reflect the results of those crises which affect social, political or economic life, although the way art reacts on various disturbances may be varied. It may seem natural that in a period of unemployment and of high prices society cannot afford to devote as much money to invest in the goods of culture as it does in times of prosperity, and often it is so indeed. (shrink)

Following Foucault, ‘critique’ could be regarded as being the art not to be governed in this way or as a project of desubjectivation. In this paper it is shown how such a project could be described as an e‐ducative practice. It explores this idea through an example which Foucault himself gave of such a critical practice: the writing (and reading) of ‘experience books’. Thus it appears that such an e‐ducative practice is a ‘dangerous’, public and uncomfortable practice that is not (...) in need of pastoral care but requires generosity, presence and attention. As such it demands a pedagogy of experience which is to be invented in order to ‘make’ oneself into a question, to transgress the limits of a governmental regime. (shrink)

Contemplating the techniques of white nationalism used to refuse Black ontology and deny Black belonging to the humanity of Canadian nationhood, this article considers how art imaginatively visualizes rebellion against the racist logics that regulate such denials. Exploring the function of hyperbole, this article examines the ways the willfully heightened strangeness of the extraterrestrial Afro-Astronaut and Black Muslim monster depicted in performance and visual art trouble racial matrixes through the dissonance provoked by the Other's unfamiliar display of excess.

Jan Bryant looks at the strategies visual artists and filmmakers are using to criticise the social and economic conditions shaping our historical moment. She then assesses how the world is being positively re-imagined through their work today.

This article explores Buber’s philosophy of art, correlating it with his early emphasis on individual realization, as well as his dialogical philosophy as articulated in I and Thou and in his theopolitical perspectives. The study posits that Buber perceives artistic creation as a conduit for communication with noumenal reality, mirroring the structure of interpersonal dialogue. Consequently, artistic creation is proposed as a blueprint for fostering an organic community or building the divine kingdom on Earth. The article integrates Adir Cohen’s examination (...) of Buber’s aesthetics and Samuel Brody’s theopolitical analysis, aiming to interweave these perspectives in a comprehensive interpretation of Buber’s philosophy of art. (shrink)

Logical positivism had an important impact on the Danish intellectual climate before World War Two. During the thirties close relations were established between members of the Vienna Circle and philosophers and scientists in Copenhagen. This influence not only affected Danish philosophy and science; it also impinged on the cultural avant-garde and via them on the public debate concerning social and political reforms. Hand in hand with the positivistic ideas you find functionalism emerging as a new heretical language in art, architecture, (...) and design. Not surprisingly, you may say, since the logical positivists’ wishes of stripping philosophy of metaphysics is spiritually similar to the functionalists’ desire to get rid of symbols and ornaments. One event more than anything confirmed the connection between the Vienna Circle, Denmark, and the rest of the Nordic countries. For a short while Copenhagen became the centre for the Circle’s activities when in 1936 the 2nd Inter national Congress for the Unity of Science was held there between June 21 and 26. A photograph, taken during the conference, shows many of the participants sitting in the hall of Carlsberg’s honorary mansion where Niels Bohr was living at the time. Among the audience you find Otto Neurath , Carl Gustav Hempel and Karl Popper , but also some of the more prominent Danish scientists and scholars whose world views were congenial with the logical positivists. (shrink)

This book is the second half of a project begun to make available to the English reader a substantial selection of Jan Mukarovsky's critical writings. Th first volume, The Word And Verbal Art (New Haven, 1977). comprised essays devoted to literature. The present volume contains sixteen of essays on aesthetics and arts other than literature.

This paper makes the case for a sharper terminology regarding AIs cognitive abilities. In arguing that thinking requires more than content production, I offer a definition of meaning drawing on a clear distinction between living and machine intelligence. A pivotal argument is the re-use of the Turing Test (TT) for understanding which theories of meaning and consciousness are no longer plausible—because they have been reproduced by software without thereby gaining conscious experience. In following the few theories that have not (yet) (...) failed this reversed Turing Test (RTT), the focus turns towards rethinking the human condition in times of AI along the lines of three questions: What if a machine developed consciousness? What if AI proceeded without developing a consciousness? What, if machinic and human intelligence merged? These three questions in the end lead to examining three related possible futures of humanism as now determined by the relation between Human Intelligence and AI. (shrink)

In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...) to show the consequences Patočka’s conception has for the history of art. In the rst part, I set out to show Patocka’s critique of Hegel’s aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegel’s aesthetics, the general failure of Hegel’s system to achieve its goal, and, lastly, Hegel’s giving up on the meaning of the art in the present. I also seek to show that Danto’s version runs into the same problems and conclusions as Hegel’s. In the second part I discuss Patočka’s analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegel’s and Danto’s conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)

In this paper, I present a conception of individual religiousness in terms of religious experience. Using ideas of the early Friedrich Schleiermacher, I will claim that religious experiences are contemplative experiences of the totality of being. This understanding of religious experiences presents an alternative to how religious experience is often epistemologically thought about in the more contemporary analytic philosophy of religion. Furthermore, it has systematic advantages: It can construe religious plurality in terms of different ways to experience the totality of (...) being, it stays neutral to metaphysical and moral debates such as whether there is a God whose laws we should obey, and it allows for an explanation of how religious intuitions and religious emotions relate to one another as well as of why religiousness and art often go hand in hand. Even though understanding religiousness in terms of contemplative experience also bears revisionary potential, I will discuss how more doxastic elements of religious people’s lives can be reintegrated into this picture. (shrink)

I first became interested in De dialectica in 1966, while I was doing re search on Augustine's knowledge of logic. At the time I made a transla tion of the Maurist text and included it as an appendix to my doctoral dissertation (Yale, 1967). In 1971 I thoroughly revised the translation on the basis of the critical text of Wilhelm Crecelius (1857) and I have re cently revised it again to conform to Professor Jan Pinborg's new edition. The only previously (...) published translation of the whole of De dialectica. is N. H. Barreau's French translation in the Oeuvres completes de Saint Augustin (1873). Thomas Stanley translated parts of Chapters Six and Nine into English as part of the account of Stoic logic in his History of Philosophy (Pt. VIII, 1656). I offer De dialectica in English in the hope that it will be of some interest to historians of logic and of the liberal arts tradition and to students of the thought of Augustine. In translating I have for the most part been as literal as is consistent with English usage. Although inclusion of the Latin text might have justified a freer translation, for example, the use of modern technical terms, it seemed better to stay close to the Latin. One of the. values in studying a work such as De dialectica is to see familiar topics discussed in a terminology not so familiar. In the translation I follow these conventions. (shrink)

Neuf études sur l'art et le temps - c'est-à-dire - l'art et l'histoire. Regard historique sur l'esthétique, analyse des conceptions du Beau dans la tradition philosophique, au travers d'exemples venant de la Grèce, de la Renaissance, du Romantisme, et d'auteurs comme Burckhardt ou Hegel - ces essais sont le prétexte à une exploration des grandes questions métaphysiques sur l'art et les hommes, analyses par un auteur dont l'engagement concret contre le régime totalitaire de son pays porte la marque de son (...) souci de l'homme et de sa dignité. (shrink)

In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I argue that (...) these criteria do not suffice to make that claim. Furthermore, I make the case for a cultural evolutionary approach to the arts. One commonly used evidentiary criterion for art as adaptation is the “tight fit” between artnbsp;human cognition, which is interpreted as suggesting that cognition has undergone selection to produce and appreciate art. However, disentangling cultural and genetic evolution allows formulating thenbsp;hypothesis that art has evolved culturally to match human cognition. Second, I observe that in ancient and modern hunter gatherer societies, artistic activities are virtually alwaysnbsp;with ritual. I discuss what this implies for the adaptive significance of art. Specifically, if the arts have culturally evolved in function of ritualistic purposes, their adaptive value has depended on the adaptiveness of ritual. Third, because architecture is characterized by the combination of utilitarian and aesthetic aspects, it is particularly interesting from an evolutionary perspective and therefore I devote special attention to it. Employing the cross-species comparative approach, I investigate two main purposes human architecture has in common with nonhuman animal constructions: protection andnbsp;Based on the phylogenetic approach I establish that protection may have been the primary function of building aptitudes in humannbsp;and that building was later co-opted for signaling purposes. Subsequently, I comparatively evaluate thenbsp;of signaling models in the cultural evolution of architectural aesthetics. Furthermore I combine insights from environmental psychology, niche construction and cultural evolution theory to develop the hypothesis that a function of religious monumental architecture may have been to support nbsp;or even to galvanize nbsp;social learning. Finally, I connect the account I developed to the cognitive science of religion. I complement the frequently held view that religious monumental architecture is a costly signal with the mechanism of sensory exploitation. I attempt to demonstrate that by exploiting thenbsp;response of awe in religious followers, religious monumental architecture promotes and regulates prosocial behavior and creates in them an openness to adopt supernatural beliefs. Fourth, I dealnbsp;the evolution of visual art, paying again special attention to cultural evolution andnbsp;explanatory value of sensory exploitation. I assert that the relatively late appearance of figurative art in the course of human evolution may be attributed to an increase in the number of social learning opportunities within and between human populations at that time. I support this assertion with archaeological data that indicate overall population growth and increased population densities at that time. These demographic changes, I argue, have allowed the retention and accumulation of innovations required for figurative art making. Contrary to previous accounts, I furthermore aim to show that this process doesnbsp;require figurative art to have served adaptive purposes. Employing sensory exploitation, I establish that figurative art could have evolved by exploiting pre-existing biases of evolved psychology. The dominant themes of upper Paleolithic and late stone age figurative art, animals and humans, seem to support this contention. Fifth, I present a number of experimental studies I conducted to verify whether contemporary art experts would have socially learned to resist exploitation of evolved psychology. One aspect ofrsquo;s exploitative power may be that it elicits aesthetic pleasure by pushing “pleasure buttons” that evolved for other purposes. Consequently, spectators may trade-off rewards from indulging in art and biological activities, resulting in less effort being allocated to reproduction. I contend that, while the generalnbsp; may indeed be exploited, experts, who are typically being exposed to high doses of art, may have socially learned to resist exploitation by selectively preferring art from prestigious art contexts. The latter would be in line with the claim that prestige bias may trump content biases of evolved psychology. The results of three experimental studies supportnbsp;contention. I find that laypeople's art appreciation is positively affected by a content bias for attractive faces, mediated by aesthetic pleasure, whereas experts' appreciation is positively affected by prestige and mediated by admiration for the artist. Moreover, experts confer lower appreciation to attractive compared to moderately attractive content, which is consistentnbsp;the contention that expertise and the use of prestige are associatednbsp;resistance against beautiful content that exploits evolved preferences. This research thus suggests that expertise moderates content and context biases, which may be of relevance to an ongoing debate about their relative importance as drivers of cultural evolution. In addition, this study provides a tentative but novel explanation for the fact, famously established by philosopher Arthur Danto, that beauty lost its central position in Western art during the 20th century. However my findings cannot exclude alternative explanations for the fact that art expert appreciation deviates from evolved aesthetic preferences. Further research may experimentally assess the role of prestige bias and resistance as drivers of this deviation versus other, previously suggested, potential processes. For example, preferences of experts may deviate on account of the fact that art serves as a badge of elite group membership and thus expert art appreciation as a means to distinguish oneself from the masses. Alternatively, art experts may seek intellectual challenges instead of pushing pleasure buttons. Future research may experimentally verify the respective roles of these different hypothesized mechanisms. In addition, it may be investigated how insights from sexual selection research may help elucidating the different processes at play in cultural evolution and particularly in the cultural evolution of art appreciation, given the commonalities between sexual selection and cultural selection models. (shrink)

In the novel A Burnout-Out Case, Graham Greene argues for an intimate relationship between burnout and happiness. The novel claims that a life worth living is a continuous balancing between something painful, e.g. burnout and something desirable, e.g. happiness. In this essay, I try to make a case for the happiness of burnout. By examining the case story of a young artist, who suffered from burnout, I describe how such suffering might open up for a necessary reevaluation of the values (...) that actually make sense. Such creation of new values is what eventually leads to more happy moments, not happiness per se. This essay provides a philosophical reflection regarding the relationship between happiness and burnout in order to say something regarding which life is worth living. (shrink)

Science and humanity are usually seen as very different: the sciences of nature aim at explanations whereas the sciences of man seek meaning and understanding. This book shows how these contrasting descriptions fail to fit into a modern philosophical account of the sciences and the arts. Presenting some of the major ideas within the philosophy of science on facts, explanation, interpretation, methods, laws, and theories, Jan Faye compares various approaches, including his own. Arguing that the sciences of nature and the (...) sciences of man share a common practice of acquiring knowledge, this book offers a unique introduction to key aspects in the philosophy of science. (shrink)

In this paper we argue that sensory exploitation, a model from sexual selection theory, deserves more attention in evolutionary thinking about art than it has up until now. We base our argument on the observation that in the past sensory exploitation may have been underestimated in sexual selection theory but that it is now winning field. Likewise, we expect sensory exploitation can play a more substantial role in modeling the evolution of art behavior. Darwin's theory of sexual selection provides a (...) mechanistic basis to explain the evolution of male display traits. This mechanistic approach has proven useful to developing hypotheses about the evolution of human art. Both Boyd and Richerson (1985) and Miller (1998, 1999, 2000, 2001) have applied an indirect-benefit model from sexual selection to the evolution of art behavior. We argue that the mechanistic possibilities sensory exploitation has to offer as a model have remained underexplored so far, so we propose a concept based upon it. From the sensory exploitation perspective it follows that exaptive exploitation of psychosensory biases is a primary force in the evolution of art production (notice that the use of a model from sexual selection does not imply art evolved as a sexual display - we only use it for its mechanism) and that the indirect-benefit model only provides secondary forces. Thus, sensory exploitation may operate alone under some conditions but usually secondary processes as a result of indirect benefits are expected to kick in. The concept of sensory exploitation will need to play a central role in articulating all of the existing hypotheses about art. (shrink)