This book offers an introduction to the way art is perceived, interpreted, and felt and approaches these mindful events from a multidisciplinary perspective.

For over a century we have attempted to understand human aesthetic experience using scientific methods. A typical experiment could be described as reductive and quasi-psychophysical. We vary some aspect of the stimulus and systematically measure some aspect of the aesthetic response. The limitations of this approach can be categorized as problems on the Y axis and the X axis. The most enigmatic components of aesthetic experience include inclination to cry, aesthetic rapture, a sense of the sublime, (...) and intense fascination. However, we cannot evoke these 'hot' aesthetic emotions in the lab, at least not with well controlled stimuli on multiple trials. We thus resort to measuring cold, cognitive preference ratings. There are also problems on the X axis. The reductive psychophysical approach explicitly assumes that there are lawful relations between different stimulus dimensions and preferences. It also tacitly assumes that these dimensions are independent and orthogonal. The second assumption is implausible. Whatever stimulus-preference laws we discover are likely to be twisted and modulated when another dimension is added to the stimuli. This 'gestalt nightmare' has long been recognized, but never resolved. This matters, because human aesthetic faculties are probably tuned to the balance and relationship of parts which make up a whole and are indifferent to the parts presented in isolation. I conclude that the future of scientific aesthetics depends on how successfully we can transcend reductive, quasi-psychophysical approaches. (shrink)

In his landmark article for this journal, Francis Mechner (2018) presents a novel analysis of the confluence of unique combinations of variables accounting for aesthetic experiences, a phenomenon he calls synergetics. He proposes that artists, musicians, and writers use novel devices to capitalize on those effects. In my response to Mechner's fascinating article, I question the generality of such synergetic experiences to a wide array of audience members. I also question whether the evolutionary basis for aesthetic creativity accounts (...) for the ubiquity of aesthetic activity, as Mechner suggests. I do share Mechner’s emphasis on the importance of culturally nesting aesthetic contributions. But I suggest understanding aesthetic activities across cultures and subcultures requires additional mechanisms serving important bridging functions. I explore dispositional analysis, drawing on both Wittgenstein’s aesthetic language games and derived stimulus relationships. The behavioral functions of aesthetic experiences are those playing roles in cultural contingencies: motivational events, antecedent stimulus events, and consequences of aesthetic activities. Two kinds of aesthetic responses are discussed: 1) aesthetic creative responses by artists, writers or musicians, and 2) responses of audience members to those creations. These resulting aesthetic stimuli may play critical roles in cultural metacontingencies. (shrink)

A review of Stephen E. Palmer´s and Arthur P. Shimamura´s (eds.) Aesthetic Science (New York: Oxford University Press, 2012, xii + 408 pp. ISBN 978-0-19-973214-2).

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

All too often, we think of our minds and bodies separately. The reality couldn’t be more different: the fundamental fact about our mind is that it is embodied. We have a deep visceral, emotional, and qualitative relationship to the world—and any scientifically and philosophically satisfactory view of the mind must take into account the ways that cognition, meaning, language, action, and values are grounded in and shaped by that embodiment. This book gathers the best of philosopher Mark Johnson’s essays addressing (...) questions of our embodiment as they deal with aesthetics—which, he argues, we need to rethink so that it takes into account the central role of body-based meaning. Viewed that way, the arts can give us profound insights into the processes of meaning making that underlie our conceptual systems and cultural practices. Johnson shows how our embodiment shapes our philosophy, science, morality, and art; what emerges is a view of humans as aesthetic, meaning-making creatures who draw on their deepest physical processes to make sense of the world around them. (shrink)

Can aesthetic judgements legitimately be linked to the success of scientific theories? I suggest that a satisfactory answer to this question should account for the persistent attraction that aesthetic considerations seem to have for scientists, while also explaining the apparent instability of the link between the beauty of a theory and its truth. I argue that two widespread tendencies in the literature, Pythagorean and subjectivist approaches, have difficulties meeting this twofold challenge. I propose a Kantian conception of (...) class='Hi'>aesthetic judgements as second‐order considerations, related to our own intellectual capacities for making sense of the world, and argue that it fares better. (shrink)

Scientists often use aesthetic values in the evaluation and choice of theories. Aesthetic values are not only regarded as leading to practically more useful theories but are often taken to stand in a special epistemic relation to the truth of a theory such that the aesthetic merit of a theory is evidence of its truth. This paper explores what aesthetic considerations influence scientists' reasoning, how such aesthetic values relate to the utility of a scientific theory, (...) and how one can justify the epistemic role for such values. The paper examines ways in which the link between beauty and truth can be defended, the challenges facing such accounts, and explores alternative epistemic roles for aesthetic values in scientific practice. (shrink)

The Italian philosopher Benedetto Croce (1866-1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his "philosophy of the spirit" and he thus presents a systematic general theory intended (...) to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. This new translation of the first and most important part of the work (Theory) supersedes the defective translation by D. Ainslie, first published in 1909. It is based on the most recent Italian edition (1990). In his foreword the translator addresses the difficulties in translating certain key words in the Italian original, "scienza", "fantasia", and of course, "estetica" itself. He also furnishes the reader with helpful explanatory annotation. This publication will be of cardinal importance for all those interested in the philosophy of art, the history of criticism, and the history of linguistics. (shrink)

The Italian philosopher Benedetto Croce (1866–1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his 'philosophy of the spirit' and he thus presents a systematic general theory intended (...) to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty (...) as employed by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

_Thinking about Science, Reflecting on Art: Bringing Aesthetics and Philosophy of Science togethe_r is the first book to systematically examine the relationship between the philosophy of science and aesthetics. With contributions from leading figures from both fields this edited collection engages with such questions as: Does representation function in the same way in science and in art? What important characteristic do scientific models share with literary fictions? What is the difference between interpretation in the sciences and (...) in the arts? Can there be a science of aesthetics? In what ways can aesthetics and philosophy of science be integrated? Aiming to develop the interconnections between the philosophy of science and the philosophy of art more broadly and more deeply than ever before this volume not only explores scientific representation by comparison with fiction but extends the scope of interaction to include metaphysical and other questions around methodology in mainstream philosophy of science, including the aims of science, the characterisation of scientific understanding, and the nature of observation, as well as drawing detailed comparisons between specific examples in both art and the sciences. (shrink)

"Sir Hermann Bondi, NatureThe late S. Chandrasekhar was best known for his discovery of the upper limit to the mass of a white dwarf star, for which he received ...

This collection of essays originated from an interdisciplinary conference held at the University of Pittsburgh. Contents: Aesthetic Factors in Natural Science, by Nicholas Rescher; Three Arguments against Simplicity, by Kristin Shrader-Frechette; Simplicity and the Aesthetics of Explanation, by Joseph C. Pitt; Simplicity as an Epistemic Virtue: The View from the Neuronal Level, by Paul M. Churchland; Taming a Regulative Principle: From Kant to Schlick, by Matti Sintonen; Simplicity and Distinctness: The Limits of Referential Semantics, by Ulrich Majer; The (...) Aesthetics of Theory Testing: Economy and Simplicity, by Jane Duran; Simplicity in Evolutionary Explanations, by David B. Resnik; and The Role of Simplicity in Geology, by illiam R. Brice. Index. Co-published with Center for the Philosophy of Science. (shrink)

How far should philosophical accounts of the value and interpretation of art be sensitive to the scientific approaches used by psychologists, sociologists, and evolutionary thinkers? A team of experts urge different answers to this question, and explore how empirical inquiry can shed light on problems traditionally regarded as philosophical.

Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at the Leeds (...) Art Gallery in 2012, represents many of the most interesting positions along that spectrum. Contributions address issues concerning aesthetic testimony, the processing and appreciation of poetry, the aesthetics of disgust, imagination, genre, evolutionary constraints on art appreciation, creativity, musical cognition and the limitations or productiveness of empirical enquiry for philosophical aesthetics. (shrink)

Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at the Leeds (...) Art Gallery in 2012, represents many of the most interesting positions along that spectrum. Contributions address issues concerning aesthetic testimony, the processing and appreciation of poetry, the aesthetics of disgust, imagination, genre, evolutionary constraints on art appreciation, creativity, musical cognition and the limitations or productiveness of empirical enquiry for philosophical aesthetics. (shrink)

We often forget that art and science are not dissociated, nor indeed antagonistic, but rather allow a creative interplay to emerge from which arises the generation of new forms of knowledge. According to Parkinson, “the analogy between the new painting and the new physics consists in that elements formerly held as cognitive or conceptual a-prioris enter as constitutive factors in the very structure of the edifices of art and science”. How exactly does it work? If for us nowadays (...) it’s relatively easy to think of the mimetic moment of art as a prelude to geometry, it is not so trivial to claim how higher-order representational symbolic epistemic structures arise from the lifeworld, or simply how both interact together. The aim of this paper is to stake out the complexity of processes going from the lifeworld and, before that, from the life of pictorial language, to h.o.r.s.e.s., in order to apply this model to further enquiries. In the first part, we will reactivate the Kantian interdependence between aesthetics and epistemology via the intersubjective dimension, in order to understand how the shaping of forms and the figuring-out patterns remain an essential component of any epistemic structure as such. In the second part, moving from Hacking, Husserl and Foucault, we will look into the way in which the evidence of symbolic structures can be maintained even alongside a genetic conception of science. Art plays an essential role in such a conception, in that it opens new horizons of figurativity in which new shapes can arise and new kinds of objectivities can be accepted as belonging to our epistemic experience of the world. (shrink)

This book proposes a new methodology for aesthetics, where problems in philosophy are addressed by examining how aesthetic phenomena are understood in the human sciences. Lopes then puts the methodology to work, illuminating the perceptual and social-pragmatic capacities involved in responding to works of visual art, literature, and music.

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper (...) explores this general framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

In response to the mental health crisis in science, and amid concerns about the detrimental effects of the COVID-19 pandemic on scientists, this study seeks to identify the role of a heretofore under-researched factor for flourishing and eudaimonia: aesthetic experiences in scientific work. The main research question that this study addresses is: To what extent is the frequency of encountering aesthetics in terms of beauty, awe, and wonder in scientific work associated with greater well-being among scientists? Based on (...) a large-scale and representative international survey of scientists in four countries, this study employs sets of nested regressions to model the associations of aesthetic experiences with flourishing while controlling for demographic factors and negative workplace and life circumstances such as burnout, job/publication pressure, mistreatment, COVID-19 impacts, other stressful life events, serious psychological distress, and chronic health conditions. The results show that the frequency of aesthetic experiences in scientific work in the disciplines of biology and physics has a very large and statistically significant association with flourishing and eudaimonia that remains robust even when controlling for demographic factors and negative workplace and life circumstances, including COVID-19 impacts. Aesthetic experiences in scientific work are even as strongly associated with flourishing as the presence of serious psychological distress and are most strongly associated with the flourishing domain of meaning in life, thus pointing to a link with eudaimonic well-being. In line with neurophysiological evidence and positive psychological models of flow, self-transcendence, and intrinsic motivation, aesthetics are a key source of flourishing for scientists in the disciplines of biology and physics. While future research needs to test the causal mechanism, the strength of the findings could encourage leaders of scientific labs and research organizations generally to remove obstacles to experiencing the aesthetic dimensions of science. Fostering cultures in which the aesthetic experiences that are intrinsic to scientific practice are fully appreciated might potentially protect or boost flourishing by reducing the impacts of burnout, job/publication pressure, and mistreatment-related experiences in science. (shrink)

Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues, epistemic problems, and questions of value. This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy of (...) art in German philosophy during the eighteenth and early nineteenth century. By reconstructing the history of these debates, I hope to shed new light on the origins of aesthetics as a discipline and to explain why its subject matter and status within philosophy are still so difficult to define. (shrink)

I first provide an introduction to a neglected topic in contemporary aesthetics: intellectual beauty. I then review James McAllister’s critique of autonomism and reductionism regarding the relation between empirical and aesthetic criteria in scientific theory evaluation. Finally, I critique McAllister’s “aesthetic induction” and defend an alternative model that emphasizes the holistic coherence of aesthetic and other theoretical virtues in scientific theorizing.

Due to the historic separation of cognition and emotion, the affective aspects of learning are often seen as trivial in comparison to the more ‘essential’ cognitive qualities—particularly in science. We are taught that science should objectively scrutinize the world in search of answers, and science educators have been taught to look to scientists to guide their teaching of content and processes.2 As a result, science pedagogy characteristically instructs students to step back from objects and events in (...) order to dispassionately observe and analyze them. In an attempt to guide students towards thinking like scientists, the process of scientific inquiry is typically the focus in science. What is left out, of course .. (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and the digital image (...) -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

In this paper, I argue that a reconciliation between science and nature is possible by way of the role played by ecological sciences on the aesthetical and ethical appraisal of natural diversity. First, I show that the aim of science – namely natural sciences – is to dominate nature and contend that environmental ethics was founded to support nature’s protection from the perils of science. I then show that when environmental ethics is supported by environmental aesthetics, a (...) different role may be assigned to science. I start by building on Allen Carlson’s philosophical aesthetics to show that the aesthetical appraisal of nature requires a scientific understanding of the ecological processes. Finally, I refer to Holmes Rolston’s environmental ethics to show how nature’s ethical value may arise from Carlson’s peculiar aesthetic evaluation. (shrink)

As an introduction to the case studies collected in the current special issue, this review article provides a brief, and by no means exhaustive, overview of research that proves to be relevant to the development of a concept of an aesthetics of knowledge in the academic study of religion and in science and technology studies. Finally, it briefly discusses recent work explicitly addressing the aesthetic entangle-ment of science and religion.

The publication of The Aesthetics of Science invites us to reflect, beyond the range of individual arguments advanced in it, on the general aims that motivate t.

Due to its considerable length, this article is being published in two parts. This first part briefly discusses the intriguing relationship between John Dewey and Albert Barnes, as well as the circumstances behind the creation of the Barnes Foundation and its innovative art-education programs. This is followed by examination of the prominent roles of aesthetic formalism and organic unity in Barnes's writings about the arts and their less technical, more contextual positioning in Dewey's aesthetics. To end Part 1 of (...) the article, a similar dynamic is revealed in Barnes's and Dewey's ultimately disparate understandings of the relationship between form and content in the arts.In its heyday during the first part of the... (shrink)

Review of: The Aesthetics of Meaning and Thought: The Bodily Roots of Philosophy, Science, Morality, and Art, Mark Johnson (2018)Chicago: University of Chicago Press, 304 pp.,ISBN 978-0-22653-894-5, p/bk, USD 30.

This paper offers a systematic analysis of Poincaré’s understanding of beauty in science. In particular, the paper examines the epistemic significance Poincaré attributes to aesthetic judgement by reconstructing and analysing his arguments on simplicity and unity in science. I offer a consistent reconstruction of Poincaré’s account and show that for Poincaré simplicity and unity are regulative principles, linked to the aim of science—that of achieving understanding of how phenomena relate. I show how Poincaré’s account of beauty (...) in science can be incorporated within his wider philosophy of science. (shrink)

A strong parallel exists between current research methodologies in the social sciences and the two most central and popular approaches to aesthetics over the last four centuries. The point of this paper is to show this parallel, to demonstrate the importance and relevance of this parallel, and finally to examine ways of deciding, given this parallel between research methodologies and aesthetic approaches, which research methodology in a given context is the better.

In Beauty and Revolution in Science, James McAllister argues that a sophisticated rationalist image of science can accommodate two prominent features of actual scientific practice, namely, appeals to “aesthetic” criteria in theory choice, and the occurrence of scientific “revolutions”. The aesthetic criteria to which scientists appeal are, he maintains, inductively grounded in the empirical record of competing theories, and scientific revolutions involve changes in aestheic criteria bu continuity in empirical criteria of theory choice. I raise difficulties (...) for McAllister's account concerning: (a) the nature and scope of “aesthetic” criteria in science; (b) the rationality of appeals to aestheic criteria in science; (c) the rationality of scientific revolutions. (shrink)

it is common to praise the beauty of theories, the elegance of proofs, and the pleasing simplicity of explanations. We may admire, for example, the beauty of Einstein’s theory of general relativity, the simplicity of Darwin’s idea of natural selection, and the elegance of a geometrical proof of Pythagoras’s theorem. Aesthetic judgments such as these have much currency among scientists, and they are employed in the search for knowledge more broadly. But while the use of aesthetic judgments in (...) science is widespread, it is not uncontroversial.1 On one side, such judgments are often inspired by the Platonic vision that beauty and truth are ultimately one. As Henri Poincaré saw it, science is the “disinterested pursuit... (shrink)

When a rainbow spans the sky the eye may rest with simple rapture on the arch of colours, or the mind may interpret it as an interplay between raindrops and light. This perceptibly separates the aesthetic relish of the colours from the scientific understanding of the bow. Archbishop Temple distinguished the restfulness of art from the restlessness of science. This applies to the wider aesthetic which includes natural products, such as snow-scenes or daffodils or rainbows, with the (...) pictures, statues, buildings, poems, and other products of man-made art. The rainbow clearly separates the understanding sought by science from the immediate contemplative aesthetic satisfaction with the colours. (shrink)