Where does the human aesthetic come from? How does it develop? By introducing the notion of the ‘niche’ as a key term in an empirically and evolutionarily informed aesthetics, this paper aims to take a fresh look at these and similar questions. It also aims to shed new light on the development and functioning of the aesthetic capacity in humans and its trans-generational transmission. Drawing on recent research developments in evolutionary biology, developmental psychology, and cognitive sciences, I shall argue that (...) the human aesthetic capacity—which I understand as the capacity, involving perceptual, cognitive and emotional processes, to enter into a pleasurable/non-pleasurable and expressive relation with objects, artworks, natural phenomena, or other people—relies on constructed environmental resources for its emergence and its ontogenetic development. (shrink)

This paper is a preliminary attempt to bring to the fore some questions and issues regarding the role of habits in aesthetics. Indeed, much attention has recently been given to habits across a wide range of fields of inquiry: philosophers turn to the concept to investigate its significance to the historical development of Western thought; neuroscientists look into the role that habits play in the functioning of the human mind and identify the neural and psychological underpinnings of habitual behavior; anthropologists, (...) political scientists and sociologists tap into habits as a key notion to explain social dynamics and collective behavior. For all of these waves that the notion has made in other parts of the humanities and social sciences, there have been so far, however, only a few sustained discussions of habits in conjunction with aesthetics. What is the role of habits in aesthetic experience? How do habits influence and regulate artistic creative processes? (shrink)

Evolutionary Aesthetics is a bourgeoning and thriving sub-field of Aesthetics, the main aim of which is “the importation of aesthetics into natural sciences, and especially its integration into the heuristic of Darwin’s evolutionary theory.” Scholars working in the field attempt to determine through the adoption of an interdisciplinary research methodology whether and to what extent Darwinian evolution can shed light on our capacity to have aesthetic experiences, make aesthetic judgments (both of art and natural beauty), and produce literary, visual, musical (...) artworks. Notwithstanding Evolutionary Aesthetics’ growing popularity in the past two decades, a look into the state of current research suggests a significant degree of haziness in the field from both epistemological-methodological and theoretical points of view. The main aim of the present paper is to make a first step towards a revision and extension of the discipline by assessing the role and potential of epigenetics in evolutionarily inspired aesthetic research. Epigenetics is among the youngest and most fascinating research fields in contemporary biology. But one of the most significant occurrences of the word “epigenesis” (the closest “ancestor” of contemporary “epigenetics”) is in Immanuel Kant’s third Critique, his aesthetic masterpiece. What might be the relationship between epigenetics and aesthetics? What is the role of epigenetic mechanisms in the development and functioning of aesthetic behavior in humans? (shrink)

For almost two years now the COVID-19 pandemic impacted in most different forms habits, models of organization, socio-political dynamics and economic assets. Arrangements and orders taking decades to reach stabilization have demonstrated an unsuspected precarity, demanding a profound reorganization of dynamics we had been long accustomed to. As the distant, sanitized character of interaction, transmission, fruition and creation processes has turned from a contingent measure into the unamenable norm of these days’ routine, every aspect of social interaction is changing accordingly. (...) “Contact”, “contagion”, “proximity” and “distance” are not features of a transient period anymore: they are keywords of today’s experience. Indeed, while these concepts were already at stake in masscommunication and social media, it was not before nowadays that their precipitate on art forms could be taken into account more pristinely, for especially performative arts never had to amend their “familiar ground” in order to pursue their goals. Hence, how did artforms adjust themselves to wholly new forms of participation? What are we supposed to expect next? The main aim of this paper is to sketch out, relying on some classical loci of the history of Western aesthetics such as Plato, Aloïs Riegl, Walter Benjamin, this new, re-configured notion of aesthetic and artistic experience in the time of the COVID-19 pandemic. (shrink)

Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, in particular to (...) his Notebooks, Bartalesi and Portera attempt to provide an alternative explanation for the emergence and development of human aesthetic preferences, beyond the dichotomy of nature and culture. (shrink)

This article examines the ideas of ‘aesthetic pleasure’ and ‘aesthetic appreciation of nature’ in the Anthropocene. In the framework of the current ecological crisis, the anthropogenic roots of which are today beyond dispute, are the aesthetic categories of ‘beautiful’, ‘sublime’, ‘majestic’ etc. still appropriate to describe our experience of nature? Can a landscape – or an animal or a plant – which have undergone changes and modifications due to climate change (a human-induced phenomenon) still be considered beautiful? More generally, is (...) the idea of nature as an object of aesthetic contemplation still legitimate in the Anthropocene? (shrink)

Evolutionary Aesthetics emerges today as a young and lively field of studies whose main aim is to rethink the traditional questions of philosophical Aesthetics in the light of biological theories, in particular in the light of Darwin's evolutionary theory by means of natural selection. The aim of this issue is to introduce Evolutionary Aesthetics into the Italian philosophical debate. Contributions collected cover almost entirely the lively, multifaceted spectrum of the discipline: 1) the high-debated question of the adaptive value of aesthetic (...) sense, artistic practices and art fruition (Stephen Davies, Zach Norwood, Joseph Carroll); 2) the evolutionary explanation of human sexual preferences and production of artefacts (Hannes Rusch & Eckart Voland); 3) the possibility for a Darwinian non-reductionist definition of art as a culturally differentiated behavior (Kathryn Coe; Nancy E. Aiken; Roberta Dreon); 4) a comparative analysis of aesthetic experience from a cognitive viewpoint (Gianluca Consoli) and from a morphological one (Salvatore Tedesco); 5) the influence of Darwinian perspective beyond the English boundaries, with particular reference to the Italian scientific community in the Nineteenth century (Elena Canadelli) and to the tradition of Gestaltpsychologie (Michele Gardini); 6) a naturalistic approach to aesthetic experience and medial experience (Antonino Pennisi & Francesco Parisi). (shrink)

This paper aims to shed light on the links between aesthetic mind and cultural dynamics. We’ll begin by describing the behavioural, cognitive and phenomenological complexity of the aesthetic before examining the role of such multidimensional phenomenon in the processes of cultural transmission. This analysis will lead us to consider aesthetics as a key frame of reference indispensable for investigating the creative and freely productive character of the processes through which individuals reproduce and transform their culture.

Our paper aims at bringing to the fore the crucial role that habits play in Charles Darwin’s theory of evolution by means of natural selection. We have organized the paper in two steps: first, we analyse value and functions of the concept of habit in Darwin's early works, notably in his Notebooks, and compare these views to his mature understanding of the concept in the Origin of Species and later works; second, we discuss Darwin’s ideas on habits in the light (...) of today’s theories of epigenetic inheritance, which describe the way in which the functioning and expression of genes is modified by the environment, and how these modifications are transmitted over generations. We argue that Darwin’s lasting and multifaceted interest in the notion of habit, throughout his intellectual life, is both conceptually and methodologically relevant. From a conceptual point of view, intriguing similarities can be found between Darwin’s (early) conception of habit and contemporary views on epigenetic inheritance. From a methodological point of view, we suggest that Darwin’s plastic approach to habits, from his early writings up to the mature works, can provide today’s evolutionary scientists with a viable methodological model to address the challenging task of extending and expanding evolutionary theory, with particular reference to the integration of epigenetic mechanisms into existing models of evolutionary change. Over his entire life Darwin has modified and reassessed his views on habits as many times as required by evidence: his work on this notion may represent the paradigm of a habit of good scientific research methodology. (shrink)

This paper is mainly intended to provide some insights into the relationship between the aesthetic dimension, human practical/habitual knowledge and the environment ; more specifically, I shall shed some light on that variety of problems, issues and questions that arise when we examine role and functioning of our human aesthetic attitude – considered as an anthropological constant result of both biological evolution and cultural evolution and which involves, in its exercise, an intimate relationship between the organism and its environment – (...) within the context of today’s environmental crisis. (shrink)

In this paper I discuss the notion of transcendentalEmpfindung, which plays a central role in Hölderlin's fragmentary essay Wenn der Dichter einmal des Geistes mächtig ist.Thenotion of transcendental Empfindung is introduced in this essay as a replacement for the concept of intellectual intuition, the well-known philosophical notion which represents one of the key-terms for German philosophers between XVIII and XIX century. In this paper I argue that Hölderlin, having made use of this notion for a long time in his works (...) and philosophical writings, now rejects the intellectual intuition and find a substitute for it in the transcendental sensation under the influence of a renewed reading of Kant's writings, especially Kant's Critique of pure reason and Critique of judgement. (shrink)

In the wake of the recent impressive resurgence of interest in the notion of habits among philosophers, social scientists, psychologists and neuroscientists, this article examines the relevance of human habits to the current environmental crisis. The recently established, multidisciplinary matrix known as ‘Environmental Humanities’ has put major emphasis on habits and their role in, on the one hand, compounding the current ecological disaster (it is the case of those ‘environmentally damaging habits’ such as using too many plastic bags or using (...) plastic straws) but also, on the other hand, in potentially providing a way out of the crisis. Indeed, new ways of behaving that are less harmful to the environment, can only be formed in a way that is robust enough to endure if they are produced through embodied processes of consolidation, i.e. if they become seated in the form of habits. (shrink)

This issue of Itinera collects a selection of the papers presented by the participants of the International Conference "Aesthetics of Emotions. Arts and Cognitive Science" held in October 2016 at the University of Milan. The focus of the conference, on the link between arts, emotions and cognitive sciences, is richly reflected in the themes addressed by the essays, which attempt to put into interdisciplinary dialogue "classical" perspectives of the history of aesthetics with more contemporary perspectives inspired by experimental sciences, in (...) particular psychology, cognitive sciences and the theory of emotions. (shrink)

In recent years the number of scholarly publications devoted to Kant's theory of biology has rapidly growing, with particular attention being given to Kant's thoughts about the concepts of teleology, function, organism, and their respective roles in scientific practice. Moving from these recent studies, and distancing itself from their mostly evolutionary background, the main aim of the present paper is to suggest an original "cognitive turn" in the interpretation of Kant's theory of biology. More specifically, the Authors will trace a (...) connection between some Kantian theses about the “peculiar” or special nature of the human mind, advanced in the Critique of the Power of Judgement, and some specific epistemological issues pertaining to the research practice of contemporary molecular biology. (shrink)

Why do we make the aesthetic judgements and have the aesthetic preferences that we do? How and to what extent does repeated exposure to a certain aesthetic object influence our appreciation and taste for it? The present paper aims at reflecting on the role played by repetition in enhancing people's appreciation and attitudes towards an aesthetic stimulus. Almost forty years ago the Polish-born psychologist Robert Zajonc famously championed the so-called "mere-exposure effect" hypothesis, according to which repeated exposure of an individual (...) to a stimulus is a sufficient condition for the enhancement of his/her attitude toward it. When applied to the aesthetic case, however, Zajonc's theory produces inconsistent evidence. Is repetition useful or, more precisely, is it true that "the more we repeat, the more we like"? Repetita iuvant? (shrink)

In this paper I discuss Terrence Deacon's hypothesis about the origin of human aesthetic faculty, which he interprets as a by-product of human acquisition of language. In discussing Deacon's hypothesis I introduce the question about the adoption of exaptive evolutionary hypotheses in studies on human evolution and especially on human evolution of aesthetic faculty.