In every known human society, some kind—usually many kinds—of art is practiced, frequently with much vigor and pleasure, so that one could at least hypothesize that “artifying” or “artification” is a characteristic behavior of our species. Yet human ethologists and sociobiologists have been conspicuously unforthcoming about this observably widespread and valued practice, for a number of stated and unstated reasons. The present essay is a position paper that offers an overview and analysis of conceptual issues and problems inherent in viewing (...) art and/or aesthetics as adaptive, and it presents a speculative account of a human behavior of art. (shrink)

In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically (...) autonomist approaches to art, assuming aesthetic experience to coincide with the disinterested contemplation of formal features, independently of cognitive, practical, and ethical implications, or whether the arts are considered an enhancement of the features of human expe- rience and developments of other human behaviours. The second part of the paper will investigate some recent developments in current neuroaesthetics and fresh enactivist proposals in the aesthetic field which display a tendency toward a non-reductive naturalism, views of the arts as continuous with other modes of behav- iour and more conscious attitudes about the risks of scientism within scientific in- vestigations. Generally speaking, we espouse an idea of culture as the natural development of human organic experience that involves new emerging properties depending on the re-organization of already existing natural resources and favour continuistic and emergentist views as more suited to dealing with specific prob- lems in the field of the arts and as better responding to the criticism of irrelevancy directed against the latter, compared to reductive naturalist approaches. (shrink)

This article presents a new approach to studying aesthetics by weaving together a thread of ideas based on investigating the problematics of the philosophy of art from a behavioral paradigm in order to exceed the margins of aesthetics. I claim that it makes no sense to ask if something is art, but rather we should be looking out into the manners in which art subsists, consists, and insists itself. Several notions of what I call behavioral aesthetics are proposed such as (...) observation, aesthetic experience and aesthetic conditioning, behavioral materialism, out-comes, behavioral memory and replication or acquisition, interaction and intra-action, emotional engineering, artificial instincts, aesthetic dissonance, and the problem of measurement. The proposed goal of behavioral aesthetics consists in studying the process of individuation as constitutive of art with the methods of Bernard Stiegler’s general organology and genealogy of the sensible. The article presents a behavioral stance as a borderline mode for approaching the genealogy of aesthetics. I mostly refer to Tania Bruguera’s Behavior Art School and Wright Judson’s Behavioral Art, and the paradigm of new materialism, notably agential realism of Karan Barad. (shrink)