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  1. Aesthetics and cognitive science.Dustin Stokes - 2009 - Philosophy Compass 4 (5):715-733.
    Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...)
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  • Educating the design stance: Issues of coherence and transgression.Norman H. Freeman & Melissa L. Allen - 2013 - Behavioral and Brain Sciences 36 (2):141 - 142.
    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.
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  • Review of Mohan Matthen-Seeing, Doing, and Knowing: A Philosophical Theory of Sense Perception. [REVIEW]Dustin Stokes - 2006 - British Journal of Aesthetics 46 (3):323-325.
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  • The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  • A Metaphysics of Creativity.Dustin Stokes - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. New York: Palgrave-Macmillan. pp. 105--124.
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  • Communication advantages of line drawings.Roberto Casati & Alessandro Pignocchi - unknown
    This paper investigates a the cognitive foundations of a pragmatic account of line drawings. It sets to highlight those features of line drawings that make them, as opposed to other types of visual representations, particularly conducive to communication. It is argued that representational and artifactual properties of drawings must be investigated together in order to understand the peculiarities of drawings as communicative tools.
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  • Educating the design stance: Issues of coherence and transgression. Commentary on Bullot & Reber.Norman H. Freeman & Melissa L. Allen - forthcoming - Behavioral and Brain Sciences.
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