This chapter contains sections titled: Canary Wine and Beyond Wine, the Analogy with Art, and Expression Dewey Seeing As and Seeing In Critical Rhetoric The Institutional Theories Attention, Attitude and Appreciation Aesthetic Attributes and Experiences Aesthetic Experience: What Is It? Functionalist Theories The Necessity of Aesthetic Competency Aesthetic Emergence Aesthetic Competency Notes.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to (...) our species’ evolutionary development, which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

What is it to experience the sardonic quality of Mingus' music, the nostalgia of a street-scene, the evanescence of a light installation, or the flowingness of Virginia Woolf's prose? Aesthetic experiences make artworks what they are for us--expressive, enlightening, enjoyable. They ground aesthetic value. How can we best account for them? ;The traditional view of aesthetic perception describes a mode of disinterested contemplation, free from the cognitive and utilitarian strictures conditioning ordinary awareness. Philosophers have challenged this (...) view on analytical, marxist, feminist, pragmatist, and postmodernist grounds. Through interrelation and contextualization requirements, aestheticians have attempted to salvage the notion of an aesthetically appropriate mode of appreciation . But the nature of this kind of appreciation depends on the nature of the small-scale experiential states that form its substance, namely, the experiences of aesthetic properties. ;These experiences are peculiar. Conceptually complexer than pure sensations, and phenomenally richer than sheer imaginings and cognitions, aesthetic experiences exhibit significant parallels and differences with other states of mind. They display a rocky distribution over various sense modalities, a selective sensitivity to contextual factors, and a striking interconnectedness among themselves. Current analyses in terms of cognition, imagination, metaphorical understanding, nonaesthetic sensation, and counterfactual perception have trouble accommodating their coherence and stability. With the assistence of theoretical work on categorization, perception, and qualia , I propose to locate a more fine-grained attitude at the basis of aesthetic experience, involving perceptually driven conceptualizations, arising through processes of progressive phenomenal differentiation. I substantiate this proposal by considering a number of pertinent phenomena in aesthetics, namely the role of imaginings in pictorial and musical perception; the function of artistic categories, and the experience of seeing objects in depictions. ;This view, call it the conceptualizations view, allows us to identify the distinctive artistic functioning of aesthetic experience--its role as an intermediary between different domains of artistic meaning--while respecting its variety and its relations with other forms of mentation. Thus we can clarify its formative role within the aesthetic sphere at large, and, most importantly, its connection with value. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based (...) in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

The World In Your Head: A Gestalt View of the Mechanism of Conscious Experience represents a bold assault on one of the greatest unsolved mysteries in science: the nature of consciousness and the human mind. Rather than examining the brain and nervous system to see what they tell us about the mind, this book begins with an examination of conscious experience to see what it can tell us about the brain. Through this analysis, the first and most obvious observation is (...) that consciousness appears as a volumetric spatial void, containing colored objects and surfaces. This reveals that the representation in the brain takes the form of an explicit volumetric spatial model of external reality. Therefore, the world we see around us is not the real world itself, but merely a miniature virtual-reality replica of that world in an internal representation. In fact, the phenomena of dreams and hallucinations clearly demonstrate the capacity of the brain to construct complete virtual worlds even in the absence of sensory input. Perception is somewhat like a guided hallucination, based on sensory stimulation. This insight allows us to examine the world of visual experience not as scientists exploring the external world, but as perceptual scientists examining a rich and complex internal representation. This unique approach to investigating mental function has implications in a wide variety of related fields, including the nature of language and abstract thought, and motor control and behavior. It also has implications to the world of music, art, and dance, showing how the patterns of regularity and periodicity in space and time--apparent in those aesthetic domains--reflect the periodic basis set of the underlying harmonic resonance representation in the brain. (shrink)

Within cognitive and developmental psychology, it is commonly argued that perception is the basis for object concepts. According to this view, sensory experiences would translate into concepts thanks to the recognition, correlation and integration of physical attributes. Once attributes are integrated into general patterns, subjects would become able to parse objects into categories. In this article, we critically review the three epistemological perspectives according to which it can be claimed that object concepts depend on perception:state (...) non-conceptualism, content non-conceptualism, andcontent conceptualism. We show that the three perspectives have problems that make perception inadequate as a conceptual basis. We suggest that the inquiry about the origin and development of object concepts can benefit from a pragmatic perspective that considers objects’cultural functionsas a conceptual foundation. We address this possibility from the theoretical framework of thepragmatics of the object, considering the importance of objects’functional permanence. (shrink)

Within cognitive and developmental psychology, it is commonly argued that perception is the basis for object concepts. According to this view, sensory experiences would translate into concepts thanks to the recognition, correlation and integration of physical attributes. Once attributes are integrated into general patterns, subjects would become able to parse objects into categories. In this article, we critically review the three epistemological perspectives according to which it can be claimed that object concepts depend on perception: (...) state non-conceptualism, content non-conceptualism, and content conceptualism. We show that the three perspectives have problems that make perception inadequate as a conceptual basis. We suggest that the inquiry about the origin and development of object concepts can benefit from a pragmatic perspective that considers objects’ cultural functions as a conceptual foundation. We address this possibility from the theoretical framework of the pragmatics of the object, considering the importance of objects’ functional permanence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a (...) range of activities and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

This article investigates the aesthetic experience within telematic space, using terms introduced by kleinian psychoanalysis. We argue that the object of the aesthetic experience in multi-sensory interactive installations can be analysed within a spatial context of a dual nature, involving both the physical space of the installation and the virtual space of the participating subject’s perception, a hybrid space. Therefore, we discuss the aesthetic experience of interactive artworks as an intersubjective relationship between the artist (...) and the audience, where the aesthetic object becomes the subjective perceptual experience of this process of interaction. The space, where the visitor ‘meets’ the artist, is the place of the aesthetic experience. Aesthetic experience takes place in both the physical and the ‘potential’ world of our internal representations, the internalized, ‘mental space’ of projected fantasies: our unconscious. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a (...) range of activities and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

The aesthetic experience, In husserl's language, Brackets or suspends the natural standpoint. Consciousness perceives the work of art not as an object of the factual world, But as a man-Made artifact to be enjoyed just for certain immediately experienced qualities. The work of art is neither a real physical entity nor a real psychical entity, But a purely intentional object, For which the physical object serves as a substratum. The critic must recreate the purely (...) intentional object by completing the schema of the work and by actualizing its merely potential elements. He must experience the ensemble of axiologically neutral qualities, Aesthetic qualities, And aesthetic values as an harmonious whole. A full concretion of the work is the aesthetic object-The object the critic describes and judges. By metaphorical or partly metaphorical language-Never completely adequate-He tries to convey to his readers the experience of its qualities and values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these (...) activities are essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these (...) activities are essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

It is generally agreed that Edmund Husserl’s theory of depiction describes a three-fold experience of seeing something in pictures, whereas Richard Wollheim’s theory is a two-fold experience of seeingin. The aim of this article is to show that Wollheim’s theory can be interpreted as a three-fold experience of seeing-in. I will first give an overview of Wollheim and Husserl’s theories of seeing-in, and will then show how the concept of figuration in Wollheim’s theory is analogous to the concept of the (...) image subject as the depicted object in Husserl’s theory. I will claim that our experience of non-figurative pictures is a two-fold seeing-in, while that of figurative pictures is a three-fold seeing-in. (shrink)

In this paper, I present the difficulty in the phenomenology of explaining the constitution of objectivities in consciousness. In the context of phenomenological reduction, constitution has to be understood as unveiling the universal and necessary essences. Recognized by Husserl in Ideas I and named as functional problems, the constitution of objectivities refers at first to individual consciousness, and then to an intersubjective one. In Ideas II, the phenomenologist explains how the constitution of nature, psyche, and spirit occurs. This process begins (...) by assuming three premises: the ontological realism, the regularity of nature, and the transcendental idealism. In this process, the ego, apart from constituting objects (the body, the psyche, and the others), constitutes itself. The objects of material reality are constituted through aesthetic synthesis which unifies singularities and contextualizes the lived experience. The body, as a perceptive organ, perceives the exterior, and the location of the sensory stimulus is the soul. The soul is a real and transcendent object, which is linked to physical things that are constituted in a solipsistic way or intersubjectively. Empathy allows the subject to recognize the consciousness of the alter ego as capable of spontaneous movements and actions, a co-presence sharing the same horizons. Thus, through the theoretical attitude, the physical world is perceived, and through the spiritual attitude the spiritual world is perceived, a living world shared by free intelligent beings. For this, intersubjectivity fulfills a fundamental role, because only in the relationship with the other does the identity of the objects, of the other, and of the self become evident. (shrink)

In this paper, I present the difficulty in the phenomenology of explaining the constitution of objectivities in consciousness. In the context of phenomenological reduction, constitution has to be understood as unveiling the universal and necessary essences. Recognized by Husserl in Ideas I and named as functional problems, the constitution of objectivities refers at first to individual consciousness, and then to an intersubjective one. In Ideas II, the phenomenologist explains how the constitution of nature, psyche, and spirit occurs. This process begins (...) by assuming three premises: the ontological realism, the regularity of nature, and the transcendental idealism. In this process, the ego, apart from constituting objects (the body, the psyche, and the others), constitutes itself. The objects of material reality are constituted through aesthetic synthesis which unifies singularities and contextualizes the lived experience. The body, as a perceptive organ, perceives the exterior, and the location of the sensory stimulus is the soul. The soul is a real and transcendent object, which is linked to physical things that are constituted in a solipsistic way or intersubjectively. Empathy allows the subject to recognize the consciousness of the alter ego as capable of spontaneous movements and actions, a co-presence sharing the same horizons. Thus, through the theoretical attitude, the physical world is perceived, and through the spiritual attitude the spiritual world is perceived, a living world shared by free intelligent beings. For this, intersubjectivity fulfills a fundamental role, because only in the relationship with the other does the identity of the objects, of the other, and of the self become evident. (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

Chapter 1 First Person Access to Mental States. Mind Science and Subjective Qualities -/- Abstract. The philosophy of mind as we know it today starts with Ryle. What defines and at the same time differentiates it from the previous tradition of study on mind is the persuasion that any rigorous approach to mental phenomena must conform to the criteria of scientificity applied by the natural sciences, i.e. its investigations and results must be intersubjectively and publicly controllable. In Ryle’s view, philosophy (...) of mind needs to adopt an antimentalist stance to achieve this aim. Antimentalism not only definitively rejects the idea that mind is a substance separated from the body, it also denies that mental phenomena radically differ from physical phenomena by virtue of several unique features. Most problematically, mental phenomena have a conscious character (mental states are related to specific qualitative feelings) and are accessible only to the first-person (only the subject knows directly what s/he is experiencing inside his/her mind). Ryle takes a strong stance on antimentalism going so far as to maintain that an approach to mind which aims to meet the criteria of scientificity set by the natural sciences must avoid any reference to internal, unobservable mental states. In his view (which is considered a specifically philosophical version of psychological behaviorism and also addresses questions put forward in psychological research), mental states can be redescribed in terms of behavioral dispositions. In this chapter, we address the historical roots of the antimentalist view and analyze its relation to the later tradition of research on mind. We show that, compared to the antimentalist stance, functionalism and cognitivism take a step back when they maintain that direct reference to mental states is necessary since mental states cause and therefore explain human behavior. This step backwards is often interpreted as a return to mentalism. However, this is only partially true. Indeed, we suggest that these later traditions retain one important element of Ryle’s antimentalism, i.e. the idea that mental states must be uniquely identified using external and publicly observable criteria, while excluding any reference to introspection and those qualitative dimensions of a mental state, which are accessible only to the first-person. According to the perspective we put forward, this epistemological stance has continued to influence contemporary research on mind and current philosophical and psychological theories which both tend to exclude the subjective qualities of human experience from their accounts of how the mind works. The issue we raise here is whether this is legitimate or whether subjective qualities do play a role with respect to the way our mind works. The conclusion of this chapter anticipates the argument the book makes in in favor of this latter position, starting from a particular angle, i.e. the problem of how we categorize concepts related to our internal states. -/- Chapter 2 The Misleading Aspects of the Mind/Computer Analogy. The Grounding Problem and the Thorny Issue of Propriosensitive Information -/- Abstract. After the crisis of behaviorism, cognitivism and functionalism became the predominant models in the field of psychology and of philosophy, respectively. Their success is mainly due to the new key they use for interpreting mental processes: the mind/computer analogy. On the basis of this analogy, mental operations are seen as cognitive processes based on computations, i.e. on manipulations of abstract symbols which are in turn understood as informational unities (representations). This chapter identifies two main problems with this model. The first is how these symbols can relate to and communicate with perception and thus allow us to identify and classify what we perceive through the senses. Here we limit ourselves to presenting this issue in relation to the classical symbol grounding problem originally put forward by Harnad on the basis of Searle’s Chinese room argument. An attempt to address the problem raised here will be made in chap. 3. The second point we discuss in relation to the mind/computer analogy concerns the idea of information it fosters. Indeed, following this analogy, information is something available in the external world which can be captured by the senses and transmitted to the central system without being influenced or modified by the procedures of transmission. This perspective does not take into account that – unlike computers – in living beings information is acquired by means of the body. As Ulric Neisser has already pointed out, the body is itself an informational source that provides us with additional sensory experience that influences (modifies or complements) the information extracted from the external world by the senses. To develop this line of analysis and to determine exactly what information is provided by the body and how this might influence cognition, we examine Sherrington’s and Gibson’s positions. Moving on from their views, we qualify bodily information in terms of ‘proprioception’. We use ‘proprioception’ in a broad sense to describe any kind of experience we have of our internal states (including postural information as well as sensations related to the general state of the body and its parts). Following Damasio’s and Craig’s studies, we further elaborate this position, arguing that living beings are equipped with an internal propriosensitive monitoring system which maps all the changes that constantly occur in our body and that give us perceptual (‘proprioceptive’ or propriosensitive) information about what happens inside us. Moreover, relying on Goldie’s and Ratcliffe’s view, we show that emotional information can also be considered as a form of ‘proprioception’ which contributes to determining everything we perceive. This analysis leads us to the second main thesis of this book: ‘proprioception’ is a form of internal perception and it is an essential component of the sensory information we can access and use for all cognitive purposes. -/- Chapter 3 Semantic Competence from the Inside: Conceptual Architecture and Composition -/- Abstract. Concepts are essential constituents of thought: they are the instruments we use to categorize our experience, i.e. to classify things and group them together in homogeneous sets. Here we define concepts as the internal mental information (representations) that allows us, among other things, to master words in natural language. By analyzing the way in which individuals master word meanings we explore a number of hypotheses regarding the nature of concepts. Following Diego Marconi’s research, we differentiate between two kind of abilities that underpin lexical competence – so-called ‘referential’ and ‘inferential competence’ – and we suggest that, in order to support these abilities, concepts must also include two corresponding kinds of information, i.e. inferential and referential information. We point out that the most widely used and acknowledged theories of concepts do not make this distinction, instead broadly characterizing the information used for categorization in terms of propositionally described feature lists. However, we show that while feature lists can explain inferential competence, they do not account for referential competence. To address the issue of referential competence we examine Ray Jackendoff’s hypothesis that to account for the possibility of linking perceptual and conceptual information we need to assume the existence of a (visual) representation that encodes the geometric and topological properties of objects and bridges the gap between the percept and the concept. Furthermore, we analyze the extension of this work by Jesse Prinz who introduced the notion of a proxytype, a perceptual representation of a class of objects that incorporates structural and parametric information related to their appearance. However, as we point out, proxytypes can only explain the relationship between perception and concepts with respect to instances that can be perceived through the senses and that belong to the same class by virtue of their physical similarity. We suggest that this notion be extended to include larger conceptual classes. To accomplish this, we further develop Mark Johnson, George Lakoff and Jean Mandler’s idea of a schematic image and argue that conceptual representations include a perceptual schema. Perceptual schemata are non-linguistic, structured experiential gestalts (patterns or maps) that make use of information taken from all sensory modalities, including body perception. They accomplish a quasi-conceptual function: they allow us to recognize and to classify different instances. In this work, we hypothesize that perceptual schemata are an essential component of concepts, but not identical to them. Instead, we suggest that concepts include both perceptual and propositional information with perceptual schemata providing the ‘perceptual core concept’ that grounds related propositional information. -/- Chapter 4 In the Beginning There Were Categories. The Bodily Origin of Prelinguistic Categorical Organization: The Example of Folkbiological Taxonomies -/- Abstract. Studies of categorization in psychology and the cognitive sciences have made use of the notions of ‘category’ and ‘concept’ without precisely defining what is meant by either; in fact, often these terms have been used as synonyms, making it difficult to address specific issues related to conceptual development. This chapter begins by discussing the definitions of, as well as the distinctions between, ‘categories’ and ‘concepts’ in the classical philosophical tradition (Aristotle, Kant and Husserl). We introduce our view of categories with reference to Husserl. Categorization is defined as the way in which our experience is originally (pre-linguistically) organized in a passive and fully unconscious manner on the basis of universal structuring principles. Conceptualization is explained as a later process in which the earlier categorical macro-classes are further subdivided into more specific and detailed sets; this later process also relies on linguistic learning and exposure to culture. On the basis of Ray Jackendoff, Jean Mandler, George Lakoff and Mark Johnson’s work, we hypothesize that categorization is a two-step process that begins with the formation of homogeneous sets of entities partitioned into regions that describe the ontological boundaries of the objects that humans perceive (categories) and continues at a later stage with the development of more specific classifications (concepts). In this chapter, we mainly address three related issues: Why should we assume that there is categorical organization which precedes the development of a conceptual system? How do categories and concepts relate to each other? Shall we hypothesize that categories are innate or that they are formed before concepts on the basis of information and organizational structure available at a very early developmental stage? We show that categorical partitions are necessary for categorization and, following Mandler, that the general categories we form at an early age do not match our adult superordinate concepts. As for the third issue, we argue that there might be no need to assume that categories are innately present in the human mind, since their formation can be explained – at least in certain cases – by basic mechanisms that work on body (propriosensitive) information. This hypothesis will not be discussed in general, but in relation to a particularly relevant example of categorical partition, i.e. the folk-biological dichotomy between ANIMATE/INANIMATE. This is compared with other dichotomies that derive from it, but are not directly categorical such as LIVING/NON-LIVING and BIOLOGICAL/NON-BIOLOGICAL. -/- Chapter 5 Internal States: From Headache to Anger. Conceptualization and Semantic Mastery -/- Abstract. Here we ask if we can also apply the distinction between referential and inferential competence we introduced in Chapter 3 to words that do not refer to things that are perceived using the external senses, especially to words/concepts that denote bodily experiences (such as pain, thirst, hunger, etc.) or emotions. We introduce and discuss the hypothesis that – even though such words/concepts do not refer to intersubjectively identifiable entities in the external world – they do have a kind of referent that can be accessed via direct perception, more specifically ‘proprioception’, as we have defined it in terms of all propriosensitive information we can consciously access. In the first part of the chapter, we specifically consider terms denoting bodily experiences such as ‘pain’ or ‘hunger’ and argue that their referents are identified and classified from a first-personal point of view on the basis of four main characteristics: their specific intensity, their localization in the body, their co-occurrence with other signals and above all their specific qualitative sensations. Emotions are addressed in the second part of the chapter. We suggest that there is a continuity between bodily experiences and emotions. In particular, we argue for a perceptual theory of emotions in line with that proposed by James and Lange at the end of the 19th century and developed more recently by authors such as Damasio (see also chap. 2§5, §6). The hypothesis we put forward is that the referential information that supports the categorization of emotions and therefore also our mastery of terms referring to emotions consists in the perception (i.e. the ‘proprioception’) of those bodily states and changes in bodily states which constitute our emotional experience. In the context of this discussion we examine some objections to this line of reasoning that arise from a cognitivist perspective and following authors such as Oatley, Johnson-Laird and Frijda, we distinguish between basic emotions that can be identified and classified solely on the basis on how they feel and complex emotions whose identification and classification additionally depends on cognitive factors. To describe how emotions are identified and classified on the basis of how they feel, we rely on Marcel and Lambie’s distinction between an ‘emotion state’ and an ‘emotion experience’. Both notions indicate kinds of feelings that we consciously experience. However, they describe first-order and second order emotion awareness respectively. The emotion state is the feeling we have of the bodily states and changes that occur when we are experiencing an emotion, while the emotion experience is the fully developed and integrated emotion we both experience and are, with reflection, aware of experiencing. On the basis of this differentiation, we also show that the same characteristics that aid in the identification and classification of bodily experiences (specific qualitative sensations; somatic localization; specific intensity; presence/absence of specific concomitant sensations) can also be used for the identification and classification of emotions – at least basic emotions. In the last two sections of the chapter we present some clinical evidence on the semantic competence of people who suffer from Alexithymia and Autism Spectrum Disorder which supports the conclusions of our preceding analyses. -/- Chapter 6 The ‘Proprioceptive’ Component of Abstract Concepts -/- Abstract. In this chapter, we address the issue of whether the mastery of abstract words requires only inferential knowledge and thus, if the concepts that support the mastery of abstract words include only linguistic information. We start by differentiating the notions of ‘abstract’ and ‘general’ which are often erroneously confused. We then identify a strict definition of abstract, as contrasted with ‘concrete’, that applies to words or concepts whose referent cannot be experienced by the senses. We argue that abstract words/concepts would be better described as theoretical, because they are usually conceived as structured sets of inferential knowledge expressed linguistically; that is, as small theories. Pointing out parallels with Carnap’s analysis of this issue in philosophy of science, we hypothesize that words/concepts denoting non-observable entities are not all ‘equally theoretical’, because their link to sensory experience can be stronger or weaker. We revive the distinction, inspired by Quine, between theoretical and intertheoretical concepts/words. This distinction relies on the fact that the former – unlike the latter – retains a strong, although indirect, connection with perception. In Quine’s discussion, perception is understood uniquely in terms of observability, i.e. of external sensory experience. Here we argue, however, that bodily, ‘proprioceptive’ (i.e. propriosensitive) experience can also serve to referentially ground theoretical (i.e. abstract) concepts/words. We frame this issue using the example of the theoretical concept ‘freedom’ and Lakoff’s hypothesis that this concept is developed on the basis of bodily information. We contrast this with the example of ‘democracy’ which more closely resembles an intertheoretical concept/word. Furthermore, we show that one of the classical views put forward in psycholinguistic research to explain how abstract concepts are mentally represented – i.e. Paivio’s Dual Coding Theory – points in the same direction as our analysis. The same is true of Barsalou’s work suggesting that we use internal information to understand at least some abstract words. To sustain this position, we put forward two lines of evidence: the first comes from psycholinguistic studies while the second examines deficits of semantic competence exhibited by people with Autism Spectrum Disorder. On the basis of our analysis, we put forward a classification that distinguishes between different kinds of concreteness and different degrees of abstraction: concepts/words referring to body experiences and basic emotions are described as analogous to concrete concepts/words because they are grounded in perceptual (i.e. propriosensitive) experience, while abstract concepts/words are considered more or less abstract depending on whether they are intratheoretical (and rely entirely on inferential information) or theoretical (and are partially grounded in perceptual – or more often in propriosensitive perceptual – information). In the last section of the chapter we consider two scales that have been used in psycholinguistic research to measure the degree of concreteness vs. abstractness of words and we show that – used conjointly – they can provide a measure of the internal vs. external grounding of specific words. (shrink)

In this paper, I suggest an aesthetic model that is consistent with anti-foundational scientific knowledge. How has an aesthetics without foundation to be configured? In contrast to the conventional subject/object model, with idealistic and subjective aesthetics, but also with object-oriented assumptions, I suggest that aesthetics has to be characterized as relational aesthetics in terms of process-oriented perception and that this leads to an _Aesthetics Without Objects_ (AWO) approach. The relational nature of processes means that they do (...) not happen _inter_-, that is, between ontologically delimited and stable entities, but rather they _correspond_ between relations. I will try to show that AWO matches well with the onto-phenomenological-epistemic and relational models proposed by recent theories in different fields of science, especially in the relational interpretation of quantum physics. The field of aesthetics, then, does not indicate perceptual fixed contents—either subjective or objectual properties—rather it emerges from a correspondence occurring in an engaged and situated perceptual movement, an _agencing_ that is prior to any sharp distinction between a perceiver and a perceived. I propose to call _haptic_ this perceptual agencing. In the first section, I describe the reasons according to which the adoption of AWO seems more correct and advisable, both with respect to contemporary scientific models and to the current ecological changes on the planet. In the second section, I portray some characteristics of AWO. In the third section, I argue that AWO calls for haptic perception. In the fourth section, I briefly draw some meta-aesthetics consequences concerning, on the one side, socio-political issues of AWO and, on the other side, the possibility for a theory in an anti-foundational model. I conclude with a proposal: a process-oriented aesthetics approach has to be understood mainly as an _art of thinking_. This means rethinking and re-evaluating the idea of aesthetics as an _artisan thought_. (shrink)

Human perception has long been a critical subject of design thinking. While various studies have stressed the link between thinking and acting, particularly in spatial experience, the term “design thinking” seems to disconnect conceptual thinking from physical expression or process. Spatial perception is multimodal and fundamentally bound to the body that is not a mere receptor of sensory stimuli but an active agent engaged with the perceivable environment. The body apprehends the experience in which one’s kinesthetic engagement (...) and knowledge play an essential role. Although design disciplines have integrated the abstract, metaphoric, and visual aspects of the body and its movement into conceptual thinking, studies have pointed out that design disciplines have emphasized visuality above the other sensory domains and heavily engaged with the perception of visual configurations, relying on the Gestalt principles. Gestalt psychology must be valued for its attention to a whole. However, the theories of design elements and principles over-empathizing such visuality posit the aesthetics of design mainly as visual value and understate other sensorial and perceptual aspects. Although the visual approach may provide a practical means to represent and communicate ideas, a design process heavily driven by visuality can exhibit weaknesses undermining certain aspects of spatial experience despite the complexity. Grounded in Merleau-Ponty’s notion of multisensory perception, this article discusses the relationship between body awareness and spatial perception and its implication for design disciplines concerning built environments. Special attention is given to the concepts of kinesthetic and synesthetic phenomena known as multisensory and cross-sensory, respectively. This discussion integrates the corporeal and spatiotemporal realms of human experience into the discourse of kinesthetic and synesthetic perceptions. Based on the conceptual, theoretical, and precedent analyses, this article proposes three models for design thinking: Synesthetic Translation, Kinesthetic Resonance, and Kinesthetic Engagement. To discuss the concepts rooted in action-based perception and embodied cognition, this study borrows the neurological interpretation of haptic perception, interoception, and proprioception of space. This article suggests how consideration of the kinesthetic or synesthetic body can deepen and challenge the existing models of the perceptual aspects of environmental psychology adopted in design disciplines. (shrink)

This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the phenomenological tradition and (...) the philosophy of perception can fruitfully be applied to the same terrain, and an account of aesthetic experience is built up that stresses embodied, differential and virtual aspects in the perception of aesthetic objects. The disruption and/or enhancement of these aisthetic aspects of perception, coupled with the self-conscious reflection thereby occasioned, is put forward as an account of aesthetic experience that links Ankersmit’s ideas with those of others, and a critical reading is made of a section of Ankersmit’s Sublime Historical Experience that centers on his experience of a painting by Francesco Guardi. The fijinal section aims at strengthening aspects of Ankersmit’s ideas and renews his critique of the radical constructivism of Oakeshott. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and-due to its unique in situ, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, (...) utilizing a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by administered pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art pieces. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

Questions concerning perception are as old as the field of philosophy itself. Using the first-person perspective as a starting point and philosophical documents, the study examines the relationship between knowledge and perception. The problem is that of how one knows what one immediately perceives. The everyday belief that an object of perception is known to be a material object on grounds of perception is demonstrated as unreliable. It is possible that directly perceived sensible particulars (...) are mind-internal images, shapes, sounds, touches, tastes and smells. According to the appearance/reality distinction, the world of perception is the apparent realm, not the real external world. However, the distinction does not necessarily refute the existence of the external world. We have a causal connection with the external world via mind-internal particulars, and therefore we have indirect knowledge about the external world through perceptual experience. The research especially concerns the reasons for George Berkeley’s claim that material things are mind-dependent ideas that really are perceived. The necessity of a perceiver’s own qualities for perceptual experience, such as mind, consciousness, and the brain, supports the causal theory of perception. Finally, it is asked why mind-internal entities are present when perceiving an object. Perception would not directly discern material objects without the presupposition of extra entities located between a perceiver and the external world. Nevertheless, the results show that perception is not sufficient to know what a perceptual object is, and that the existence of appearances is necessary to know that the external world is being perceived. However, the impossibility of matter does not follow from Berkeley’s theory. The main result of the research is that singular knowledge claims about the external world never refer directly and immediately to the objects of the external world. A perceiver’s own qualities affect how perceptual objects appear in a perceptual situation. (shrink)

Questions concerning perception are as old as the field of philosophy itself. Using the first-person perspective as a starting point and philosophical documents, the study examines the relationship between knowledge and perception. The problem is that of how one knows what one immediately perceives. The everyday belief that an object of perception is known to be a material object on grounds of perception is demonstrated as unreliable. It is possible that directly perceived sensible particulars (...) are mind-internal images, shapes, sounds, touches, tastes and smells. According to the appearance/reality distinction, the world of perception is the apparent realm, not the real external world. However, the distinction does not necessarily refute the existence of the external world. We have a causal connection with the external world via mind-internal particulars, and therefore we have indirect knowledge about the external world through perceptual experience. The research especially concerns the reasons for George Berkeley’s claim that material things are mind-dependent ideas that really are perceived. The necessity of a perceiver’s own qualities for perceptual experience, such as mind, consciousness, and the brain, supports the causal theory of perception. Finally, it is asked why mind-internal entities are present when perceiving an object. Perception would not directly discern material objects without the presupposition of extra entities located between a perceiver and the external world. Nevertheless, the results show that perception is not sufficient to know what a perceptual object is, and that the existence of appearances is necessary to know that the external world is being perceived. However, the impossibility of matter does not follow from Berkeley’s theory. The main result of the research is that singular knowledge claims about the external world never refer directly and immediately to the objects of the external world. A perceiver’s own qualities affect how perceptual objects appear in a perceptual situation. (shrink)

Aspect-perception is a phenomenon described in detail by L. Wittgenstein in part XI of Philosophical Investigations. The most famous example is the duck-rabbit figure, which can be viewed either as a duck or a rabbit, but the phenomenon extends well beyond visual Gestalt pictures and permeates various fields of human life, including aesthetic, moral and linguistic experience. Recently there have been attempts to apply the notion of aspect-perception to religious faith. It has often been observed that religious (...) faith involves a particular way of ‘seeing’ different objects and events (recall the famous phrase from the hymn Amazing Grace, ‘I once was lost, but now am found; Was blind, but now I see’). For this reason, the attempt to use the category of aspect-seeing to analyze religious faith may appear promising. My aim in this paper to analyze critically one such attempt, made by N. K. Verbin in ‘Religious Belief and Aspect seeing’ and ‘Can Faith be Justified?’. In these papers Verbin argues for two closely related theses regarding religious belief. The first is conceptual; she proposes that we should understand ‘certain kinds of religious beliefs which we view as central to a person having a living faith’ as ‘a type of aspect-seeing’. The second follows from the first: we should modify accordingly the way we construe justification for religious belief. In what follows I expound Verbin’s conceptual claim and present arguments against equating religious belief with seeing religious aspects. Basing myself on examples of people who see religious aspects but do not reach religious belief, I conclude that the two categories should not be conflated. Although I reject Verbin’s overall claim, however, I concede that aspect-seeing does play a significant role in justifying religious belief, although not in the way Verbin proposes. (shrink)

This essay explores the prospects of grounding an account of pictorial experience or ‘seeing-in’ on a theory of presence in ordinary perception. Even though worldly objects can be perceptually recognized in a picture, they do not feel present as when they are perceived face to face. I defend a dual view of perceptual phenomenology according to which the sense of presence is dissociated from the contents of perception. On the one hand, the sense of presence is best conceived (...) as a non-sensory feeling. Ordinary objects are felt but not seen to be present. On the other hand, the contents of perception are determined by the actualization of perceptual-recognitional abilities. Unlike current versions of the feeling-based account of the sense of presence, I claim that these abilities enable us to perceive worldly (partial or overall) appearances. This claim justifies the strongest interpretation of recognition theories which does not fall back on the view that pictorial experience involves a kind of perceptual illusion. (shrink)

The aesthetic experience may be defined as people's interactions with, and reactions to, objects, places, but also to the environment. Most psychological perspectives on the aesthetic experience argue that it results from the coordination of different mental processes such as perception, attention, memory, imagination, thought, and emotion. Physiological and neurological responses are also involved. Aesthetic experiences can take place while we observe works of art in museums and galleries as well as in other contexts such as (...) natural and built environments. Looking at a landscape, walking in a park, meeting people in a square, and walking into a building that is architecturally appealing are examples of natural and built environments where we can experience beauty, pleasure, attraction, and interest, among other aesthetic reactions.Research on aesthetic experiences has a long history, and in recent decades, the field has experienced tremendous growth in the number of empirical studies conducted. One of the areas that researchers have yet to fully address is the influence of the context (natural and built environments) on aesthetic experiences. We refer to context according to three broad categories: Context as natural environments, context as built environments, and environments for aesthetic experiences.Context as natural environments: People show a basic tendency to associate the natural environment with positive evaluations. According to an evolutionary explanation know... (shrink)

The brain constructs within itself an understanding of its surround which constitutes its own world. This is described as its Double in the frame of the dissipative quantum model of brain, where the perception-action arc in the Merleau-Ponty’s phenomenology of perception finds its formal description. In the dialog with the Double, the continuous attempt to reach the equilibrium shows that the real goal pursued by the brain activity is the aesthetical experience, the most harmonious “to-be-in-the-world” reached through reciprocal (...) actions, the aesthetical dimension characterized by the “pleasure” of the perception. Aesthetical pleasure unavoidably implies disclosure, to manifest “signs”, artistic communication. An interpersonal, collective level of consciousness then arises, a larger stage where the actors are mutually dependent. The coherent structure of the brain background state manifests itself in the auto-similarity properties of fractal structures. These are observed to occur also in a large number of natural phenomena and systems. The conception of Nature divided in separated domains is replaced by the vision of Nature unified by laws of form implied by the underlying quantum dynamics of the coherent vacuum, an integrated ecological vision. (shrink)

The aim of this article is to argue that what is distinctive about aesthetic experiences has to do with what we do -- not with our perception or evaluation, but with our action and, more precisely, with our interaction with whatever we are aesthetically engaging with. This view goes against the mainstream inasmuch as aesthetic engagement is widely held to be special precisely because it is detached from the sphere of the practical. I argue that taking the (...) interactive nature of aesthetic experiences seriously can help us to understand some of the most important features of aesthetic experiences and the role they play in our life: their normativity, their crucial role in the ways in which the aesthetic domain looms large in our self-image and in the social dimension of aesthetic engagement. (shrink)

Initially, Realism is related to perception and its intentionality, And perception is analyzed as a form of acquaintance, Or intuition, A direct cognitive relation to its object. Then several commitments to realism are detailed in the phenomenological content of everyday perception. At issue is internal, As opposed to external, Realism, In a sense defined. The demonstrative content of perception (i see "this object (visually before me)") contains a commitment to a causal relation between the (...) perceptual experience and the object perceived, Hence a commitment to the object's independence from the experience, Hence realism. The content of a perception typically includes as well other implicit commitments to other "conditions of the possibility" of perceptual experience. (shrink)

A natural landscape can look serene, a shade of colour cheerful and a piece of music might sound heartrending. Why do we ascribe affective qualities to objects that can't entertain psychological states? The capacity that objects, and especially artworks, have to express affective states is a bizarre phenomenon that needs to be clarified in numerous respects. Philosophers are still struggling with the phenomenon of expressiveness being a matter of imagination, perception, or mnemonic association, and usually do not agree on (...) the role that emotions and human bodily expressions play in it. Benenti questions the main theories that populate the aesthetics domain using the tools of philosophy of mind. This study deals with crucial debates concerning seeing-in, cognitive penetration, the relation between phenomenal character and representational content and between emotions and expressions. It aims at providing a viable account of the experience we have of expressive properties by casting light on its fundamentally perceptual nature. The outcome is an empirically informed and critical overview of a topic which has been rather neglected in the philosophy of mind. The book will be of interest to scholars of the philosophy of mind, aesthetics, the cognitive sciences, and psychology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 40-53 [Access article in PDF] Aesthetic Experience and Aesthetic Analysis David E. W. Fenner The "raw data" that aesthetics is meant to explain is the aesthetic experience. People have experiences that they class off from other experiences and label, as a class, the aesthetic ones. Aesthetic experience is basic, and allother things aesthetic — (...) class='Hi'>aesthetic properties, aesthetic objects, aesthetic attitudes — are secondary in their importance to aesthetic experiences. 1Considering aesthetic experience as the raw data that philosophical aesthetics seeks to explain is a relatively recent phenomenon. This was certainly not the focus in the seventeenth and eighteenth centuries. Aesthetic judgment was the focus of Shaftesbury, Hutcheson, Hume, and Kant: "How do we make meaningful judgments (hopefully real ones) about the aesthetic quality of (certain) objects and events?" But with George Santayana, John Dewey, and Jerome Stolnitz, the focus changes. Now the interest is in the aesthetic experience: what makes those experiences we label "aesthetic" special? Why do we separate those experiences from others?The movement from the Taste Theories to those focused on aesthetic experience is not a movement that is over and done with — far from it. There is still (and I think there will always be) a tension between these two very basic aspects of philosophical aesthetics. And, although I claim that aesthetic experience is the most basic thing that aesthetics studies, I recognize that this is challengeable and only true from a certain temporal viewpoint.I recently taught the most rewarding undergraduate course in aesthetics. The reason that it was so rewarding was that the students carried the class with deep and insightful discussions, and they were not shy about challenging what was coming out of my mouth. One of the challenges that informed our entire semester focused on the tension between experience and judgment. I lectured comfortably about aesthetic experience as our "raw data," and I lectured equally comfortably about how taking an aesthetic view of an object or event meant focusing primarily, if not exclusively, on [End Page 40] what is available to us through simple sensory acquaintanceship with the object. "Aesthetics," I said, "is about the sensuous aspects of our experiences." And so we could, for instance, take an aesthetic view of a Robert Mapplethorpe photograph which precluded our experiences being mired in the themes that the more famous Mapplethorpe photos take as their content. "Mapplethorpe is a great photographer," I argued, "and one can see this if one is willing to focus strictly on what meets your eye when you look at the picture." In short, I held the position that the aesthetic view is the formal one.Without saying more, what I did was conflate two different things. On the one hand, I argued that aesthetic experience is a natural part of life that aesthetics seeks to explore. On the other, I argued that appreciating something aesthetically was to appreciate its formal qualities, those qualities that one could access simply through looking, hearing, touching, for example. But these really are two different things.Aesthetic experiences, if we are to treat them as "raw data," must be explored without pre-conception, prejudice, or limitation. And, truly enough, the vast majority of aesthetic experiences are not focused exclusively, in terms of their contents, on formal or simple-sensory matters. Aesthetic experiences are, first, experiences. They are complex things, having to do with things as tidy as the formal qualities of the object under consideration and with things as messy as whether one had enough sleep the night before, whether one just had a fight with his roommate, whether one is carrying psychological baggage that is brought to consciousness by this particular aesthetic object. Later in this essay, I want to explore some of this complexity.The other side of what was happening in my class, the formal focus on the sensory as the basis for an aesthetic viewing, is not the substance of "aesthetic experience" per se. It is rather the basis of what we might call "aesthetic analysis." Aesthetic analysis has to do with separating out from our... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 40-53 [Access article in PDF] Aesthetic Experience and Aesthetic Analysis David E. W. Fenner The "raw data" that aesthetics is meant to explain is the aesthetic experience. People have experiences that they class off from other experiences and label, as a class, the aesthetic ones. Aesthetic experience is basic, and allother things aesthetic — (...) class='Hi'>aesthetic properties, aesthetic objects, aesthetic attitudes — are secondary in their importance to aesthetic experiences. 1Considering aesthetic experience as the raw data that philosophical aesthetics seeks to explain is a relatively recent phenomenon. This was certainly not the focus in the seventeenth and eighteenth centuries. Aesthetic judgment was the focus of Shaftesbury, Hutcheson, Hume, and Kant: "How do we make meaningful judgments (hopefully real ones) about the aesthetic quality of (certain) objects and events?" But with George Santayana, John Dewey, and Jerome Stolnitz, the focus changes. Now the interest is in the aesthetic experience: what makes those experiences we label "aesthetic" special? Why do we separate those experiences from others?The movement from the Taste Theories to those focused on aesthetic experience is not a movement that is over and done with — far from it. There is still (and I think there will always be) a tension between these two very basic aspects of philosophical aesthetics. And, although I claim that aesthetic experience is the most basic thing that aesthetics studies, I recognize that this is challengeable and only true from a certain temporal viewpoint.I recently taught the most rewarding undergraduate course in aesthetics. The reason that it was so rewarding was that the students carried the class with deep and insightful discussions, and they were not shy about challenging what was coming out of my mouth. One of the challenges that informed our entire semester focused on the tension between experience and judgment. I lectured comfortably about aesthetic experience as our "raw data," and I lectured equally comfortably about how taking an aesthetic view of an object or event meant focusing primarily, if not exclusively, on [End Page 40] what is available to us through simple sensory acquaintanceship with the object. "Aesthetics," I said, "is about the sensuous aspects of our experiences." And so we could, for instance, take an aesthetic view of a Robert Mapplethorpe photograph which precluded our experiences being mired in the themes that the more famous Mapplethorpe photos take as their content. "Mapplethorpe is a great photographer," I argued, "and one can see this if one is willing to focus strictly on what meets your eye when you look at the picture." In short, I held the position that the aesthetic view is the formal one.Without saying more, what I did was conflate two different things. On the one hand, I argued that aesthetic experience is a natural part of life that aesthetics seeks to explore. On the other, I argued that appreciating something aesthetically was to appreciate its formal qualities, those qualities that one could access simply through looking, hearing, touching, for example. But these really are two different things.Aesthetic experiences, if we are to treat them as "raw data," must be explored without pre-conception, prejudice, or limitation. And, truly enough, the vast majority of aesthetic experiences are not focused exclusively, in terms of their contents, on formal or simple-sensory matters. Aesthetic experiences are, first, experiences. They are complex things, having to do with things as tidy as the formal qualities of the object under consideration and with things as messy as whether one had enough sleep the night before, whether one just had a fight with his roommate, whether one is carrying psychological baggage that is brought to consciousness by this particular aesthetic object. Later in this essay, I want to explore some of this complexity.The other side of what was happening in my class, the formal focus on the sensory as the basis for an aesthetic viewing, is not the substance of "aesthetic experience" per se. It is rather the basis of what we might call "aesthetic analysis." Aesthetic analysis has to do with separating out from our... (shrink)

The Phenomenology of Aesthetic Experience was first published in 1953. In the first of four parts, Dufrenne distinguishes the "aesthetic object" from the "work of art." In the second, he elucidates types of works of art, especially music and painting. He devotes his third section to aesthetic perception. In the fourth, he describes a Kantian critique of aesthetic experience. A perennial classic in the SPEP series, the work is rounded out by a detailed "Translator's (...) Foreword" especially helpful to readers in aesthetics interested in the context and circumstances around which the original was published as well as the phenomenological background of the book. (shrink)

The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed (...) by the role that such contingent associations play in our aesthetic life. In contemplating a work of art, as in loving or desiring another person, we focus intently upon the single object, but its value to us is enhanced by our seeing it from and through and in the light of our personal and collective 'historical' imagination. (shrink)

The efforts to prove God's existence in the history of thought have been one of the fundamental problems of philosophy and theology, and even the most important one. The evidences put furword to prove the existence of God constitute the center of philosophy of religion’s problems not only philosophy of religion, but also the disciplines such as theology-kalam and Islamic philosophy are also seriously concerned. When we look at the history of philosophy, it is clear that almost all philosophers are (...) interested in the evidence in favour of and against the existence of God. Especially in recent times, religious experience has often been regarded as evidence of the existence of God. Studies in the field of religious and mystical experience have put forward many arguments concerning the use of religious experience as evidence. However, this study has been limited to experience of sense and pure consciousness claims rather than examining all of these arguments. In this study firstly, the analogy between experience of sense and religious experience will be deal with, and then claims that conciousness can be emptied by a number of methods which are defended by mystics. In addition, it will be tried to defend the opinion that the mystical experiences which are the common point of the two approaches are valid. The main emphasis of the article will be that these arguments can be used as evidence for the existence of God.Summary: Religious experience - which has not been considered as one of the classical evidences regarding the existence of God before being popular by recent studies – is started to be called one of the arguments. The most important reason for not arguing religious experience among the evidences of God’s existence is that it is a personal experience and therefore contains subjective perspectives. However, many researchers, who refuse to accept the criticism raised against religious experience with restricting to subjectivity, emphasized the importance of religious experience by highlighting the objective aspects of such experiences. This emphasis was not only on its significance, but also on the fact that it had a cognitive feature and thus it could provide evidence for the existence of God. The argument of religious experience is generally defined as an effort for demonstrating to existence of God with reference to several feelings such as spiritual experiences of human in face of creator and sacred Being, encounter with God, uniting, and annihilating selfness in Him. The emergence of such efforts, especially after the XVIIIth century, indicates that the history of the evidence does not go back much earlier. However, even if notas evidence, it is possible to extend the traces of religious and mystical experience to the history of religions such as Buddhism and Hinduism. Considering a great amount of the previous literature focused on religious experience in the West, It is easily seen that such research is still new. The main purpose in addressing such a controversial issue is to make the argument on the religious experience more current and to show whether the religious experience would be able to use as evidence for the existence of God.First title of this study comprises many different claims such as Walter T. Stace’s The Argument from Unanimity Richard Swinburne’s The Principle of Credulity, William P. Alston’s Perceiving God, John Hick’s Experience-as. However, instead of briefly giving out very different claims, the study chooses to focus on two arguments which are less discussed and can be given in more detail. The first is the argument based on the analogy between the religious experience and the sense experience. The fundamental point of this argument is sense experience. With reference to the similarities between the sense experience and the religious experience, it can be argued that religious experience is also cognitive and may function as an evidence for the existence of God. In other words, being perceptual and noetic, namely cognitive, of sense experience is addressed as a similar side of religious experience. Whether it is imaginary or real, eventually, it is necessary for an experience to have an object and being experience of something. Therefore, the religious experience includes the perception of a Transcendent Being that is beyond and in excess of the individual who experiences. Perception of the sense experience will definitely be different from the perception of religious experience. Researchers who think that the five sense organs do not run the perception of Sacred Beings, identified broader and various meanings for the perception. Thereby, in this approach, where the semantic field of perception is expanded, it was contended that human beings were able to perceive the transcendent, eternal, and unlimited God, and this can be explained in the epistemological sense. In order to use religious experiences as an evidence for the existence of God, it is necessary to determine whether such experiences are caused by God rather than something else. This raises the issue of the validity of religious experience. The researchers in this area have propounded various criteria to identify whether religious experience is existed or not. Experiences, which do not meet the criteria, are not considered existed even if they claim to be religious experience.The second is the argument that discusses whether it is possible to suggest an evidence for the existence of God by utilizing pure consciousness events. In general, this argument claims that the consciousness gets clear, and thus, mystic or Sufi experiences the Divine One with pure consciousness by discharging consciousness from all sensual contents and removing it from secular desire and wishes. The argument, which claims the experience of Divine One is direct, therefore uninterpretable, and experienced by pure consciousness, believes clearing the consciousness of mystics from sensual qualities such as seeing, hearing, and tasting. It is stated that it is possible for mystics to empty their sensory images and get rid of them, and thus, their desires and wishes could be lost. Especially, the thinkers who are connected with the philosophy of perennialism and defend this approach, thought that people, who have distinct religion, culture, and beliefs in different parts of the world and in various time periods, had the same experience and considered such experiences were universal by suggesting that this similarity could be called as common essence.Even though the claim which offers that the events of pure consciousness are the same everywhere have been criticized in many respects, the advocates of this approach have argued that the experience has the common essence, but the interpretation is different. This relationship, which was tried to be established between experience and commentary, caused a lot of work for both the thinkers who put forward the claims of pure consciousness and the researchers who opposed it. However, examining the relationship between experience and interpretation requires serious studies in socio-psychological, cultural and religious fields. Therefore, in order not to exceed the limits of the article, the relationship between experience and interpretation is briefly mentioned.While discussing two arguments, the main claims of the arguments were addressed, and the criticisms directed to this argument were not discussed as much as possible. However, some fundamental criticisms have been mentioned shortly for a better understanding of the discussion. Since such western-oriented claims mostly were deployed in a western context, the study excluded the comparison of the claims across different cultures. (shrink)

Preview: Beyond Baumgarten, the modern field of aesthetics can be seen as an attempt to go beyond the limits of older philosophies of beauty, sublimity, and taste in order to engage a much wider domain of qualities and judgments relating to our pleasurable and meaningful experiences of art and nature. The defining strategy of Hegelian aesthetics is to take the essence of aesthetics beyond the limits of nonconceptual sensuous experience and to celebrate instead the idea of art as purveying the (...) very highest spiritual truths, albeit in a somewhat sensuous form. The progressive revolutions of artistic forms and styles that define twentieth-century art similarly reflect the same play of dynamic movement in which art and aesthetics advance by challenging and overcoming the determination of established boundaries posited by prior aesthetic theory and practice. The limit-defying trend in aesthetics is evident in the continuing unsuccessful attempts by analytic philosophy to provide a satisfactory definition of art that will perfectly define its extensional limits by either providing its core essence or some formula that will select all and only those objects that are genuine works of art. Like other Wittgensteinian and pragmatist-inspired philosophers, I have criticized such compartmentalizing definitions of art, not simply for their failures to provide perfect extensional coverage of all the diverse works of art, but also for these theories’ explanatory poverty in explaining art’s meanings, purposes, functions, and values. One of the problems with traditional definitions of art is that they attempt to define something that is not a natural kind but a historically constructed field composed of rather diverse practices. These diverse practices employ a variety of different media and issue in a variety of different works of art that appear to belong to different ontological categories. (shrink)

It is an apparent truism about visual perception that we can see only what is visible to us. It is also frequently accepted that visual perception is dynamic: our visual experiences are extended through, and can evolve over time. I argue that taking the dynamism of visual experience seriously renders certain simplistic interpretations of the first claim, that a subject at a given time can see only what is visible to her at that time, false: we can be (...) meaningfully said to see invisible objects. This counterintuitive result in turn focuses our attention on the relationship between perception and memory. I show that it is difficult to draw a clear or simple distinction between the two. Memory and perception rely on, and blend with, one another. Together, these claims point us away from understanding visual perception as a simple reflection of the environment, and instead as closer to a process of dynamic modelling that draws together occurrent stimulation and stored information. (shrink)

Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the (...) problem concerning the conditions under which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions, we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction. (shrink)

The notion of a correct appreciation of nature, like the one put forward in Carlson’s environmental account, has been rejected by many other authors in the aesthetics of the natural environment. Their critics challenge the idea that only scientific cat- egories can ground the aesthetic appreciation of nature as nature, and they hold that there is not a correct way of appreciating nature. However, they may share with Carlson the idea of correctness under an objectivist paradigm of aesthetic (...) appreciation, according to which correctness means the adequation of the experi- ence to properties of the object. My aim in the article is to claim that it is necessary to endorse an aesthetic standard of correctness that takes into consideration the subjective character of aesthetic appreciation. An aesthetic standard of correct- ness implies universal assent, or validity for everyone in Kantian terms, in place of an objectivist notion. This notion of correctness permits the inclusion of expressive perception of nature as an essential form of aesthetic appreciation. (shrink)

This book provides original descriptive accounts of two schools of thought in the philosophy of beauty: the 20th-century "Anti-Aesethetic" movement and the 21st-century "Beauty Revival" movement. It also includes a positive defence of beauty as a lived experience extrapolated from Beauty-Revival position. Beauty was traditionally understood in the broadest sense as a notion that engages our sense perception and embraces everything evoked by that perception, including mental products and affective states. This book constructs and places in parallel with (...) one another the Anti-Aesthetic and Beauty-Revival movements. In the author's view, Anti-Aestheticism is devoted to a decisive negation of beauty-denying its importance as a philosophical notion and its significance as a lived experience. It suggests that beauty is a merely sensual experience, which can be used, at best, as a distraction from justice and, at worst, as an instrument of evil. Alternatively, the Beauty-Revival movement advances arguments for beauty as an experience that extends primarily to sensual experience, but which also calls forth mental products and cognitive and affective states evoked by that experience. After reconstructing these two positions, the author elaborates on the notion of beauty as a lived experience through three key moments which occur in the process of our experiencing beautiful objects. These moments are (a) the conditions that constitute an experience of beauty, (b) the attitudinal features most likely to lead to the experience of beauty, and (c) the results of the experience of beauty. The Revival of Beauty will be of interest to scholars and advanced students working in aesthetics, history of philosophy, and art history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Visual Aesthetic ExperienceElisa Steenberg, Independent ScholarMan can shift his attitude to the surrounding world into an experience of its visual appearance. He perceives colors, lines, shapes, etc.—at times denoted as form. Furthermore, these phenomena may be experienced as having various properties. A color may be experienced as warm or cold, as cheerful or somber; a line as soft or hard, as merry or aggressive; a shape as light (...) or heavy. Moreover, such experiences may include pleasure or displeasure, implying that what is experienced is liked or disliked. The individual has a preference value experience. This should not be confounded with an evaluation, a value judgment, which requires cognitive activity and a comparison. The experience described I designate a visual aesthetic experience.Research into processes in the brain may offer explanations of the neurological antecedents to the visual aesthetic experience. To see a color as cold or warm may depend on sense-interrelating processes. To experience a color or line as cheerful, somber, etc., might be explained as due to simultaneous processes in the regions of the brain that are the mainsprings of emotions. The preference valuations might be due to processes in the brain's so-called primary reward-aversion center. It seems most likely that future brain research, with the help of such techniques as PET scanning (Positron Emission Tomography) or MRI (Magnetic Resonance Imaging)—what has been called "windows into the human brain"—may offer explanations regarding the physiological and biochemical processes that happen when our attitude to the world around us is shifted into what is here designated a visual aesthetic experience.1When did man first evince visual aesthetic experiences and when do they first occur in an individual's life? Certain anthropologists assert that positive visual aesthetic experiences first occurred when man was able to experience form as symmetrical and balanced, colors as bright and possibly shiny. This they claim is due to balance and order being a fundamental condition in man's life, and preferences for bright colors they consider due to man being a daylight creature who feels insecure in darkness.2 We know that so-called primitive people and young children like symmetric patterns and bright colors. The child reaches out for light red and yellow objects rather than for dark and black ones. With increasing age, though, the child's [End Page 89] visual preferences usually change, and this occurs mainly within the framework of his or her manmade surroundings. The child becomes accustomed to seeing certain objects while feeling pleasure and thus comes to appreciate their appearance. However, such experiences are rather vague before the child reaches the age when its personality is formed. Then especially girls often develop a keen interest in the appearance of objects around them.A general survey among adults shows that there are considerable varieties in individuals' inclinations for visual aesthetic experiences. There are those who have them rather seldom. Their attitudes to the surrounding world are primarily cognitive. Their attentions are focused on meanings, the "what" not the "how," in order to understand and to cope with what they see. On the other hand, there are individuals who most frequently hold an aesthetic attitude to their surroundings. They pay attention to shapes, colors, and color combinations of all kinds of objects, natural or manmade. They choose their clothes and their home furnishings under careful aesthetic considerations. This inclination may possibly be claimed to be due to an innate disposition for holding visual aesthetic attitudes, to be compared with, for example, an individual's innate musicality. However, it is undoubtedly also due to certain social circumstances.Visual aesthetic experiences are denoted taste manifestations. As such they may be investigated not only as to their occurrences and changes in an individual's life but also as a changing sociocultural phenomenon.3Verbalizing the Visual Aesthetic ExperienceThe psychic content of a visual aesthetic experience may be revealed to other individuals by application of aesthetic property terms to the appearance of objects. The terms are either what is here called descriptive or they are value terms. Examples of descriptive aesthetic terms are graceful, garish, gaudy, clumsy, elegant, dainty, vivid, flamboyant, etc. These terms may... (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project (...) that remains fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

As the word “optics” was understood from antiquity into and beyond the early modern period, it did not mean simply the physics and geometry of light, but meant the “theory of vision” and included what we should now call physiological and psychological aspects. From antiquity, these aspects were subject to geometrical analysis. Accordingly, the geometry of visual experience has long been an object of investigation. This chapter examines accounts of size and distance perception in antiquity (Euclid and Ptolemy) (...) and the Middle Ages (Ibn al-Haytham), before turning to "natural geometry" in Kepler and Descartes. It finds a purely mechanical realization of natural geometry in Descartes (primarily in his L'Homme, 1664), in which he conceives states of the visual system as varying in accordance with distance, much as his geometrical compasses vary their spatial relations in accordance with geometrical proportions. This reading challenges the notion that a two-dimensional sensation (without three-dimensional phenomenality) was universally accepted prior to the nineteenth century by positing a direct psychophysiological account of the experience of distance in Descartes. It thereby challenges the interpretations of Descartes on natural geometry of George Berkeley, Nancy Maull, Margaret Wilson, Erwin Panofsky, and Jonathan Crary. (shrink)

Inflected seeing-in is a special experience of the vehicle and subject of a picture, which are experienced as related to each other. Bence Nanay recently defended the idea that inflected picture perception is central to the aesthetic appreciation of pictures. Here I critically discuss his characterization of inflection, and advance a new one, that better accounts for the structure and content of inflected experience in terms of properties of the pictures themselves and also clarifies the distinctive contribution of (...) inflection to pictorial aesthetics. Two kinds of inflected seeing-in are distinguished in terms of two functions the design properties of a picture can realize. One kind of inflected seeing-in allows us to experience how the picture design sustains what is seen in the picture and is responsible for the representation of the picture subject. The second kind, which is only supported by some pictures, also captures how properties of the vehicle alter or enrich the picture content so as to elicit an experience of the depicted subject as having properties it could not be seen as having in face-to-face experience. This inflected experience is distinctively associated with our visual experience of the aesthetically valuable relations between vehicle and content which are unique to pictorial representation. (shrink)

Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. In particular, (...) we begin with theorizations of the subject-object nexus within object-relations theory to consider the transformative potential of aesthetic experience. Using these literatures, and extending them to others within sociology of the arts and materiality, our focus is on the way aesthetic experience can fuse human subjects with aesthetic objects. We examine how viewers take an aesthetic object into themselves and in turn project themselves into the aesthetic object by various visual and imaginative techniques. Our theoretical and empirical analysis bears out the constructive and productive capacity of aesthetic experience. (shrink)

I will use three simple arguments to refute the thesis that I appear to directly perceive a mind-independent material object. The theses I will use are similar to the time-gap argument and the argument from the relativity of perception. The visual object of imagination and the object of experience are in the same place. They also share common qualities such as the content, subjectivity, change in virtue of conditions of observers, and the like. This leads to (...) the conclusion that both a tree-image and a tree-experience are distinct from a material tree. Perception of an object is caused by human nature, the senses and consciousness, and mind may prevent the direct perception of the external world. The strongest objection against that consequence is that there is no extra entity called sense-datum or appearance between a subject-in-itself and a real external thing-in-itself. That is, we see books, not book-images. The possible reply would be that a person sees no mental pictures except that which they see via pictures. (shrink)

I will use three simple arguments to refute the thesis that I appear to directly perceive a mind-independent material object. The theses I will use are similar to the time-gap argument and the argument from the relativity of perception. The visual object of imagination and the object of experience are in the same place. They also share common qualities such as the content, subjectivity, change in virtue of conditions of observers, and the like. This leads to (...) the conclusion that both a tree-image and a tree-experience are distinct from a material tree. Perception of an object is caused by human nature, the senses and consciousness, and mind may prevent the direct perception of the external world. The strongest objection against that consequence is that there is no extra entity called sense-datum or appearance between a subject-in-itself and a real external thing-in-itself. That is, we see books, not book-images. The possible reply would be that a person sees no mental pictures except that which they see via pictures. (shrink)

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual (...) way: we are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (shrink)