The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted in this (...) paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animalmade art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any (...) aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity. (shrink)

Books Christy Mag Uidhir, Art andObjects [Elisa Caldarola, p. 182] • Julie Jaffee Nagel, Melodies of the Mind. Connections Between Psychoanalisis and Music [Michele Gardini, p. 185] • Dominic McIver Lopes, Beyond Art [Filippo Focosi, p. 187] • Annemarie Gethmann-Siefert, Herta Nagl-Docekal, Erzsébet Ròsza, Elisabeth Weisser-Lohmann, Hegels Ästhetik als Theorie der Moderne [Lorenzo Leonardo Pizzichemi, p. 190] Comments Toward an Integrated Science of Aesthetics. Getting Rid of the Main Misunderstandings in Evolutionary Aesthetics [Mariagrazia Portera, p. 194].

ABSTRACTAlthough formative of modern value theory, the moral beauty view—which states that moral virtue is beautiful and moral vice is ugly—is now mostly neglected by philosophers. The two contemporary defences of the view mostly capitalize on its intuitive attractiveness, but to little avail: such considerations hardly convince sceptics of what is nowadays a rather unpopular view. Historically, the view was supported by thought experiments; and although these greatly increase its plausibility, they also raise empirical questions, which they leave unanswered. Here, (...) I offer a novel defence of the moral beauty view, capitalizing on empirical evidence and arguing via an inference to the best explanation. (shrink)

The paper offers a semantic and pragmatic analysis of statements of the form ‘x is beautiful’ as involving a double speech act: first, a report that x is beautiful relative to the speaker’s aesthetic standard, along the lines of naive contextualism; second, the speaker’s recommendation that her audience comes to share her appraisal of x as beautiful. We suggest that attributions of beauty tend to convey such a recommendation due to the role that aesthetic practices play in fostering and enhancing (...) interpersonal coordination. Aesthetic practices are driven by a disposition towards the attunement of attitudes and aesthetic recommendations contribute to forwarding such attunement. Our view is motivated by an attempt to satisfy the following set of desiderata: to account for the experiential nature of aesthetic judgments, disagreements in aesthetic debates, and the normative aspirations of aesthetic discourse, as well as to avoid appealing to error theory and realist ontological commitments. (shrink)

Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...) pleasure in contemplation, not value extracted from the object by activities other than contemplation. The theory is that aesthetic pleasure is a motivation for learning skills. Two forms of pleasure are postulated. The first accompanies the spontaneous activity necessary for learning a more or less universal basic level of skill. The second accompanies highly skilled activity. This second kind of pleasure is specific to art as such. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

When Władysław Tatarkiewicz wrote that there are only two things that can be said about art: that it is a human activity, not a product of nature, and that it is a conscious activity (or its product), adding that every statement about art different from the ones mentioned above was always finally overthrown (Tatarkiewicz, 1980, p. 37), he probably did not think that the first claim could be questioned by anyone. In the following paper, I will trace the history of (...) observations of “artistic behaviors” that were made by animal ethologists and then processed by evolutionary art philosophers who may lead to the hypothesis about the validity of assigning artistic abilities to animals. In respect to this article is aimed at a wide audience. I will also demonstrate that the question: whether, and in what sense, animals create art is in fact a question about a definition of art that could include this type of intentional animal acts. (shrink)

The aesthetic appreciation of animals in China is different from that in the West. In this paper, I identify these differences by tracing the various definitions of the word ‘animal’ in Chinese, an...

Today, music is ubiquitous, highly valued in all known cultures, playing many roles in human daily life. The ethnographic study of the music of extant human foragers makes this quite apparent. Moreover, music is ancient. Sophisticated bird-bone and ivory flutes dated from 40 kya reveal an even earlier musical-technological tradition. So is music likely to be an entrenched feature of human social life during the long passage to behavioral modernity—say, by 150 kya—or earlier? In this article I sketch an evolutionary (...) model that focuses on hominin vocal musicality and communication in the Pleistocene, tracking between series of phenotypes and changes in ecological, social, cognitive, and informational contexts. The model links musicality and protomusic to a bigger picture of hominin socio-cognitive evolution, making some connections clearer, motivating further theorizing and the search for new evidence. (shrink)

This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...) the archaeological and ethnographic literature, and then go on to critique his assessment of philosophical and evolutionary theories, offering some alternative perspectives that might better benefit his project. (shrink)

Coevolutionary aesthetics has been forming since the early 2010s. Its contribution of great value has been the inclusion of cultural evolution into Darwinian theories on the origins of art and aesthetic judgement. Coevolutionary aesthetics – or non-modular evolutionary aesthetics as it is sometimes called – emphasizes that aesthetic behavior develops in a specific social environment. Coevolutionary aesthetics suggests that traditional evolutionary aesthetics, drawing from evolutionary psychology, has ignored this. The critical position stems from the widely accepted notions that humans adapt (...) plastically to changing conditions and that there is no «innate» aesthetic module in the mind. What has not been examined is that modularity itself is often considered a condition for plasticity of mind. My main argument is that aesthetic inference is a metarepresentational module without direct fitness-increasing functions. Coevolutionary and evolutionary psychological aesthetics are thus more complementary than contradictory. Combining modular and coevolutionary thinking is the most consilient way forward in evolutionary aesthetics. (shrink)

The role of the arts has become crucial to understanding the origins of “modern human behavior,” but continues to be highly controversial as it is not always clear why the arts evolved and persisted. This issue is often addressed by appealing to adaptive biological explanations. However, we will argue that the arts have evolved culturally rather than biologically, exploiting biological adaptations rather than extending them. In order to support this line of inquiry, evidence from a number of disciplines will be (...) presented showing how the relationship between the arts, evolution, and adaptation can be better understood by regarding cultural transmission as an important second inheritance system. This will allow an alternative proposal to be formulated as to the proper place of the arts in human evolution. However, in order for the role of the arts to be fully addressed, the relationship of culture to genes and adaptation will be explored. Based on an assessment of the cognitive, biological, and cultural aspects of the arts, and their close relationship with ritual and associated activities, we will conclude with the null hypothesis that the arts evolved as a necessary but nonfunctional concomitant of other traits that cannot currently be refuted. (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)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

Over four decades, my ideas about the arts in human evolution have themselves evolved, from an original notion of art as a human behaviour of “making special” to a full-fledged hypothesis of artification. A summary of the gradual developmental path (or route) of the hypothesis, based on ethological principles and concepts, is given, and an argument presented in which artification is described as an exaptation whose roots lie in adaptive features of ancestral mother–infant interaction that contributed to infant survival and (...) maternal reproductive success. I show how the interaction displays features of a ritualised behavior whose operations (formalization, repetition, exaggeration, and elaboration) can be regarded as characteristic elements of human ritual ceremonies as well as of art (including song, dance, performance, literary language, altered surroundings, and other examples of making ordinary sounds, movement, language, environments, objects, and bodies extraordinary). Participation in these behaviours in ritual practices served adaptive ends in early Homo by coordinating brain and body states, and thereby emotionally bonding members of a group in common cause as well as reducing existential anxiety in individuals. A final section situates artification within contemporary philosophical and popular ideas of art, claiming that artifying is not a synonym for or definition of art but foundational to any evolutionary discussion of artistic/aesthetic behaviour. (shrink)

ABSTRACTCan a Naturalist Definition of art replace the historical and institutional positions argued for by philosophical aesthetics? This article considers Denis Dutton’s work in evolutionary psychology and his cluster Naturalist Definition of art. I begin with an analysis of the validity of what Dutton takes to be the most important criterion: Imaginative Experience. I propose a criticism of Dutton’s set of criteria coupled with a re-evaluation of what may be implied when referring to a naturalist basis for the arts. Specifically, (...) I argue that philosophical aesthetics, which has been criticized by Dutton as a form of cultural relativism, is instead able to address features of our interaction with the arts that have adaptive and evolutionary value. (shrink)

Anjan Chatterjee has promoted an analogy between the Bengalese finch and the human artist. With reduced selective pressure from females due to its domestication, the male finch’s song has become more elaborate. Similarly, art’s lack of a practical function facilitates the creative generativity shown by artists. I argue that this analogy is flawed on both sides. Only recently has some art been regarded as non-functional. And the elaboration of the finch’s song is an effect of female selection under the conditions (...) of domestication. (shrink)

In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.

The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...) we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)

Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species’ ability to go beyond simple “dyadic associations” and to process the relations among three items of information simultaneously. Classic explanations of the “triadic” nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I (...) then review the triadic foundations of two perceptual phenomena of great importance in human aesthetics: (iv) harmony perception and (v) pictorial depth perception. In all five subfields of human psychology, most previous work has emphasized the recursive, hierarchical complexity of such “higher cognition”, but a reductionist approach indicates that the core mechanisms are triadic. It is concluded that the cognitive skills traditionally considered to be “uniquely” human require three-way associational processing that most non-Primate animal species find difficult or impossible, but all members of Homo sapiens – regardless of small individual and cultural differences – find easy and inherently intriguing. (shrink)

Evolutionary debunking arguments purport to undercut the justification of our moral judgments by showing why a tendency to make moral judgments would evolve regardless of the truth of those judgments. Machery and Mallon (2010. Evolution of morality. In J.M. Doris and The Moral Psychology Research Group (Eds.), The Moral Psychology Handbook (pp. 3-46). Oxford: Oxford University Press) have recently tried to disarm these arguments by showing that moral cognition – in the sense that is relevant to debunking – is not (...) the product of natural selection. Specifically, they present a barrage of increasingly influential challenges against reciprocity-based approaches to moral nativism. In the present paper I defend the nativist account of moral cognition against these criticisms, thereby bolstering the skeptical conclusions of evolutionary debunking arguments. However, Machery and Mallon's critique does successfully highlight several vulnerabilities in Richard Joyce's approach to debunking, suggesting several ways in which it can be revised toward generating a more robust version of the argument. (shrink)

Neuroaesthetics tends not to do literature. To put it more precisely, neuroaesthetics tends not to do literature very often and when it does, it is inclined not to do it with much conviction, belief and rigour. This is not the case in the very many impressive studies that have been conducted on the neuroaesthetics of sister arts such as painting, music, dance, sculpture and the like. Why is this the case and, of greater importance, how can it best be resolved? (...) In this paper, the pitfalls, parameters and prospects of a neuroaesthetics of prose fiction will be explored. The article itself is part critical review, part methodological proposal and part opinion paper. Its aim is simple: to stimulate, excite and energize thinking in the discipline as to how prose fiction might be fully integrated in the canon of neuroaesthetics. (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)

This paper will look at Kant’s views of the aesthetic experience, in relationship to Buddhist philosophical and political discussions of art and social organization. The primary focus in Kantian literature explores the relationship between free and dependent beauty, as well as Kant’s paradox of taste. The central argument of the Kantian portion is going to navigate the paradox of taste via Graham Priest’s epistemic and conceptual distinction pertaining to the limits of thought. Secondly, I shall contextualize the debate with similar (...) argumentation found in medieval Tibetan literature, by thinkers such as Tsongkhapa and Drakpa Gyaltsen. Lastly, I shall look at the political and artistic state of affairs in Yuan and Ming Dynasties and assert the applicability of both Kantian and Tibetan discussions of effibility in the context of Tibetan poetry and Thangkas. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

The story of Faust is a part of European culture and mythology for five centuries and modified and reflected looking of the society upon some key questions in various transformation. Faust has never been alone in his effort to reach an absolute knowledge and power, even at the expense of his own execration. Other iconic beings of folk literature or folk imagination and fiction following their own ambitions were ahead of him and followed him. The aspect of power as a (...) dominant determinant of not only Faust’s effort became determining element of investigation in submitted article. Author accesses the problem of power in wider social-cultural contexts and looks for matter, origin and symptoms of its attraction following its transformation and possible aesthetical influence on the individual in the work reception and even in personal acting and creating of aesthetical preferences of the recipient. (shrink)