To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

The concept of geometry may evoke a world of pure platonic shapes, such as spheres and cubes, but a deeper understanding of visual experience demands insight into the perceptual organization of naturalistic form. Japanese gardens excel as designed environments where the complex fractal geometry of nature has been simplified to a structural core that retains the essential properties of the natural landscape, thereby presenting an ideal opportunity for investigating the geometry and perceptual significance of such naturalistic characteristics. Here, fronto-parallel perspective, (...) asymmetrical structuring of the ground plane, spatial arrangement of garden elements, tuning of textural qualities and choice of naturalistic form, are presented as a set of physical features that facilitate a systematic analysis of Japanese garden design per se, as well as the geometry of the particular naturalistic features that it aims to enhance. Comparison with Western landscape design before and after contact between Western and Eastern hemispheres illustrates the degree of naturalness achieved in the Japanese garden, and suggests how classical Western landscape design generally differs in this regard. It further reveals how modern Western gardens culminate in a different naturalistic geometry, thus also a distinctly different vision of the natural landscape, even if these designs were greatly influenced by the gardens of China and Japan. (shrink)

Depictive expressions of thought predate written language by thousands of years. They have evolved in communities through a kind of informal user testing that has refined them. Analyzing common visual communications reveals consistencies that illuminate how people think as well as guide design; the process can be brought into the laboratory and accelerated. Like language, visual communications abstract and schematize; unlike language, they use properties of the page (e.g., proximity and place: center, horizontal/up–down, vertical/left–right) and the marks on it (e.g., (...) dots, lines, arrows, boxes, blobs, likenesses, symbols) to convey meanings. The visual expressions of these meanings (e.g., individual, category, order, relation, correspondence, continuum, hierarchy) have analogs in language, gesture, and especially in the patterns that are created when people design the world around them, arranging things into piles and rows and hierarchies and arrays, spatial-abstraction-action interconnections termed spractions. The designed world is a diagram. (shrink)

The two most common names to invoke for a perceptualist aesthetics are Rudolf Arnheim and E. H. Gombrich. But the similaritied and differences between them have never been explicitly drawn. This paper undertakes such an analysis based on the three categories of representation, expression and historical objectivity. Arnheim's less stringent solutions to the problems of representation and expression are applauded but Gombrich's unique attempt to ground both of these categories in a form amenable to non-historicist approach to history are also (...) praised. Gombrich's anti-historicism derives from Karl Popper and Arnheim is fleshed out with the theories of Maurice Mandelbaum. The parallel comparison of Popper-Mandelbaum helps to underscore differences and show an alternative to Gombrich and Popper's nominalism. (shrink)

This article analyzes how the conceptualization LIFE IS A JOURNEY is conveyed within a series of paintings ranging from the fifteenth century to the twentieth century. While the previous research on visual metaphor generally aims to describe how the domains of metaphorical conceptualization interact or discusses the rhetorical effect that visual metaphor is able to induce, this article takes a historical perspective in order to identify the main conceptual aspects shared by the paintings under consideration. It is proposed that the (...) concept of a JOURNEY is associated with a PURPOSIVE ACTIVITY that involves the start of the journey and its termination as two qualitatively different moments that are faced as a collective/shared experience and that are inspired by some human wish. This article also shows how the conceptual potential of metaphor tends to maintain a coherent representation although the paintings represent different historical sensitivities and artistic approaches. (shrink)

Ayahuasca is an Amazonian psychoactive shamanic brew that often elicits spontaneous, intense, and meaningful imagery narratives related to psychological and physical healing, problem solving, knowledge acquisition, community cohesion, creativity, and spiritual development. My EEG and phenomenology ayahuasca research found it caused the greatest changes in EEG beta coherence from 25 to 30 cycles per second compared to a resting state before ayahuasca ingestion. Enhanced beta coherence indexes significantly greater information exchange between cortical regions and is congruent with the reported enhanced (...) richness, complexity, and profundity of ayahuasca experiences. I developed the creative cycle processes model that identifies in ayahuasca reports distinct experiential change processes and describes how these processes, neuroscience, psychotherapy, mythological, and other transdisciplinary evidence can be coherently integrated to explain ayahuasca benefits. The model suggests three change process stages together underlie one emergent dynamic creative cycle process. The sequential stages are Form dismantling and healing processes, form creation processes, where novel forms spontaneously combine, and form expression processes, where emergent experiences are embodied. The model suggests that these three stages repeat cyclically in human development in an ongoing process of dismantling and generation producing more creative experiences and expressive forms. (shrink)

In this contribution, I refer to a discussion between Jürgen Habermas and Robert Brandom on the latter’s normative pragmatics as advanced in Making it Explicit. Parting with Habermas, I intend to show that though both normative pragmatics and formal pragmatics postulate similar discursive ideals, the former, as compared with the latter, is not a particularly well-calibrated critical tool. I argue that whereas Brandom focuses on making conceptual norms explicit, and takes mutual recognition among participants to a linguistic practice for granted, (...) Habermas proposes a universal frame of reference, which delineates what should be taken as a paradigm case of perception and action, and thus a normative standard according to which all kinds of human endeavors can be judged. Thus construed, the formal frame of reference points to possible perceptual distortions along any of the three dimensions: the subjective, social, and objective worlds. (shrink)

The paper presents analysis of form in different domains. It draws on the commonalities and their potential unified classifications based on how forms subjectively appear in perception—as opposed to their standard specification in Euclidean geometry or other objective quantitative methods. The paper provides an overview aiming to offer elements for thought for researchers in various fields.

In recent years phenomenology has attracted the interest of science, acquiring a role far beyond philosophy. Despite Husserl's clear denial of a possible naturalization of phenomenology, scientists from different fields have proposed its naturalization. To achieve this goal, different methodologies have been proposed. Most scientists seem to agree on the claim that phenomenology cannot be a science itself because it fails to respect one of the prerequisites of science, that is, the capacity to explain its phenomena. Phenomenology, thus, is forced (...) to remain a purely descriptive effort, preliminary to authentic scientific practice. I argue, instead, that the experimental development of phenomenology explains phenomena (that is, appearances and/or subjective experiences in first person account) and uses rigorous methods, conducts valid measurements, and can validate its results. The paper provides a variety of examples of how experimental phenomenology works. (shrink)

In this article I consider a two-page autobiographical recount which appears at the end of Nelson Mandela's book Long Walk to Freedom as a summary of his life and what he has learned from it. My aim is to illustrate the role of a detailed analysis of single texts in the field of discourse analysis, as opposed to studies of selected variables across a corpus of texts. The analysis is conducted within the general theoretical framework of systemic functional linguistics, with (...) special attention to transitivity, mood, theme, grammatical metaphor, lexical relations, conjunction, tense, phase, process type, hierarchy of periodicity, polarity, continuity, elaboration, extension and the analysis of images in multimodal text. Through these procedures I show the way in which Mandela reconciles the linear unfolding of his life history with the deepening understanding of freedom that gives meaning to his life - by means of a spiral texture which returns again and again to the meaning of freedom at different levels of abstraction. The effect, I think, is inspirational - with no tinge of bitterness or betrayal; rather a message of hope and wisdom - grace personified. The approach exemplifies a positive style of discourse analysis that focuses on hope and change, by way of complementing the deconstructive exposé associated with critical discourse analysis. (shrink)

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile‐oriented human portraits, compositions with more space in front of depicted agents (a “forward bias”) (...) should be over‐represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent. (shrink)