Abstract

It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects and events. Therefore these explanations fail to disambiguate artworks from other things. They fail to locate art. This observation points to a deeper problem. What interests us in art is how what we perceive has been used to show us what the work represents. Our understanding of art is governed by a range of productive and evaluative normative conventions that govern how we ought to look at a work and evaluate how it was made. The normative dimension of appreciation argument suggests that these aspects of our engagement with artworks lie outside the scope of neuroscientific explanations of art. This chapter provides a sketch of a diagnostic recognition framework for engaging art that resolves both problems and helps explains how artworks function within the social institution of the artworld to facilitate a communicative exchange between artists and consumers.