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In this essay I discuss the relationship between naturalism and culture by drawing on the aesthetic notions of two leading pragmatists, John Dewey and Richard Rorty. Rorty’s view of the cultural significance of metaphor, which is based on Donald Davidson’s theory of metaphor, centers on the distinction between a naturalistic and an idealistic view of the cognitive value of metaphor. I then discuss the development from idealism to naturalism in Dewey’s view of the imagination and the parallels that may be (...) |
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To claim that there is a politics to or expressed within media technology is of course by no means new, but it remains controversial and not always well understood. Walter Benjamin’s (1986b) essay from 1936 on the political import of media technology is often regarded as the starting point of such discussions, since it foregrounds a key theme in critical theory, namely the politics of perception. In what follows, I would like to review the importance of the politics of perception (...) |
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Abstract: Every sentient organism needs constantly to re-assess its environment in order to adjust to any changes in it and to ascertain which aspects are, or become, salient for its current purposes. Such adaptation is of basic evolutionary importance, but for human beings it can be difficult to achieve in the face of radical novelty or when different frames of reference are in conflict. Art by virtue of its integrated structure presents examples of how a partial unification of experience may (...) |
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Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding. |
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Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) |
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In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically (...) |
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The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have sought to (...) |
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As to what distinguishes music from other sound, some investigators in both philosophy and cognitive scientists have answered “tonality.” It seems subservient even to rhythm. Tonality is considered to be the central factor around which the piece is oriented; it gives a sense of home, expectation, and completeness. Most important, much of this inquiry builds on naturalistic, evolutionary explanation to account for human nature and behavior. The conclusion of such line of thought is that sounds missing tonality or tonal focus (...) |
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