A study of culturally-embedded perceptual responses to aesthetic value indicates that learned perceptual capacities can secure compliance with social norms. We should therefore resist the temptation to draw a line between cognitive processes, such as perception, that can adapt to differences in physical environments, and cognitive processes, such as economic decision-making, that are shaped by social norms. Compliance with social norms is a result of perceptual learning when that same compliance modifies perceptible features of the physical environment.

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...) and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

The Oedipus complex is a child development construct developed by Sigmond Freud that asserts that all children experience sexual desire towards their opposite sex parent, and failure to accept this “truth” can lead to mental health issues. Freud also asserted that children are not harmed by acts of sexual violence. In contrast, the #MeToo movement is a global incentive aimed at creating an awareness of the harm that sexual violence can cause. In many regards, #MeToo is a reaction against a (...) systemic failure to prevent sexual violence from occurring in the first place. By contrasting Freudian ideas with #MeToo, I argue that the enduring popularity of Freud and his psychoanalytic ideas is a negative influence on culture. In the light of contemporary research from cognitive psychology, psychosocial considerations, child development, and trauma-informed practices, Freudian ideas can be proven to be fallible. Moreover, dispelling misleading assumptions about sexual desires is a beneficial endeavour towards reducing the likelihood of future sexual violence. Additionally, I explore Freudian interpretations of mythology and propose that he misappropriated ancient belief systems. (shrink)

Research seeking to explain the perpetration of violence and atrocities by humans against other humans offers both social and individualistic explanations, which differ namely in the roles attributed to empathy. Prominent social models suggest that some manifestations of inter-human violence are caused by parochial attitudes and obedience reinforced by within-group empathy. Individualistic explanations of violence, by contrast, posit that stable intra-individual characteristics of the brain and personality of some individuals lead them to commit violence and atrocities. An individualistic explanation argues (...) that the chief cause of violence is the perpetrator’'s lack of empathy with the victim. To offer the rudiments of a critique of the individualistic approach, I critically examine a model stating that violence is caused by empathy erosion. Specifically, the discussion of the empathy-erosion model is applied to the case of honour-based violence, a type of violence known for its communal character. Building from prior enquiries into violence and social cognition, I argue that an empathy-erosion explanation of HBV is defective because it does not consider important cultural and historical enablers of violence. Finally, as an alternative to individualism, I propose a psychohistorical approach to HBV in the migration context. This alternative combines psychological and philosophical enquiry with historical and ethnographical analysis. The psychohistorical approach hypothesises that distinct processes of cultural learning of honour codes both scaffold HBV and modulate the perpetrators’ emotions and empathy. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...) art appreciation. Here, we argue that a systematic neuroscientific study of art appreciation must move beyond understanding aesthetics alone, and toward investigating the social importance of art appreciation. We make our argument for such a shift in focus first, by situating art appreciation as an active social practice. We follow by reviewing the available psychological and cognitive neuroscientific evidence that art appreciation cultivates socio-epistemic skills such as self- and other-understanding, and discuss philosophical frameworks which suggest a more comprehensive empirical investigation. Finally, we argue that focusing on the socio-epistemic values of art engagement highlights the important role art plays in our lives. Empirical research on art appreciation can thus be used to show that engagement with art has specific social and personal value, the cultivation of which is important to us as individuals, and as communities. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

In this article, I examine whether Jerrold Levinson's intentional-historical definition of art can successfully accommodate revolutionary art. For Levinson, an item is art if it was intended to be regarded as some prior art was regarded. But revolutionary art involves a regard that is “completely distinct” from preexisting art regards. I consider and reject Levinson's proposed solutions to the problem of accommodating revolutionary art. I then defend an alternative account of transgressive art regard. Unfortunately for the intentional-historical definition, the acceptance (...) of transgressive art regard in conjunction with some recent theories of the development of human behavioral modernity may commit the definition to including nonart, prehistoric tools. (shrink)

This paper examines people's reasoning about identity continuity and its relation to previous research on how people value one-of-a-kind artifacts, such as artwork. We propose that judgments about the continuity of artworks are related to judgments about the continuity of individual persons because art objects are seen as physical extensions of their creators. We report a reanalysis of previous data and the results of two new empirical studies that test this hypothesis. The first study demonstrates that the mere categorization of (...) an object as “art” versus “a tool” changes people's intuitions about the persistence of those objects over time. In a second study, we examine some conditions that may lead artworks to be thought of as different from other artifacts. These observations inform both current understanding of what makes some objects one-of-a-kind as well as broader questions regarding how people intuitively think about the persistence of human agents. (shrink)

Works of art are usually meant to elicit psychological effects from their audiences whereas paradigmatic technical artifacts such as hammers or cars are rather meant to produce physical effects when used. This suggests that works of art and technical artifacts are sharply different entities. However, recent developments in the cognitive sciences and the philosophy of technology have individuated special artifacts, namely cognitive and affective artifacts, which also generate psychological effects. In particular, affective artifacts, which have the capacity to alter the (...) affective condition of agents, seem to share crucial features with works of art. Can we subsume works of art under that kind? I will argue that we cannot. Still, comparing art with affective artifacts will help us to clarify the relationship between art and technology, and to introduce a new category, namely the experiential artifact, which can properly encompass works of art. (shrink)

While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...) second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)

Philosophers of music, like Charles Swann in Proust’s novel (Proust 1913/1992, p. 360), have traditionally found it difficult to utter the word ‘profound’ unironically. But this changed with Peter Kivy’s 1990 paper ‘The profundity of music’ The problem Kivy draws our attention to is this: we do call some musical works profound. However, Kivy argues, given that a work is profound only if it is about something profound and given that music (or ‘music alone’) is not about anything, this leads (...) to something of a paradox: how can music be profound if it is not about something profound. My aim in this paper is to argue that what makes a work profound is not that it is about something profound, but that it actively challenges any straightforward interpretative activity (while at the same time nudges you to keep on trying to interpret it). I argue that this line of argument is very much in tune with Kivy’s general theoretical commitment that “music alone isn’t about anything” (Kivy 1990, p. 245). (shrink)

I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...) aesthetic value; it has a central role both in the theoretical definition of art and in the identification, recognition, and fruition of the individual artworks; it enables artistic creativity, historical transformations of art, and the current, multifaceted state of art. (shrink)

To introduce the issue of the tracking and identification of human agents, I examine the ability of an agent to track a human person and distinguish this target from other individuals: The ability to perform person identification. First, I discuss influential mechanistic models of the perceptual recognition of human faces and people. Such models propose detailed hypotheses about the parts and activities of the mental mechanisms that control the perceptual recognition of persons. However, models based on perceptual recognition are incomplete (...) theories of person identification because they do not explain several identification behaviors that are fundamental to human social interactions. Furthermore, recognition-based models tend to appeal to the controversial concept of the “identity” of a person without explaining what determines personal identity and persistence. To overcome these limitations, I propose to integrate the face-recognition program into a broader causal-historical theory of identification. The causal-historical theory of identification complements models focused on perceptual recognition because it can account for the types of non-perceptual identification overlooked by the face-recognition program. Moreover, it can decompose the identification behaviors into tracking processes that succeed or fail to be sensitive to causal characteristics of a target. I illustrate these advantages with a discussion of the difference between the tracking of a person understood as either a causally continuous biological organism or a psychologically continuous mind. Finally, I argue that the causal-historical theory provides a theoretical framework for investigating the tracking of relations between a target and its contextual and historical attributes, such as a target's possessions. (shrink)

To explain agent-identification behaviours, universalist theories in the biological and cognitive sciences have posited mental mechanisms thought to be universal to all humans, such as agent detection and face recognition mechanisms. These universalist theories have paid little attention to how particular sociocultural or historical contexts interact with the psychobiological processes of agent-identification. In contrast to universalist theories, contextualist theories appeal to particular historical and sociocultural contexts for explaining agent-identification. Contextualist theories tend to adopt idiographic methods aimed at recording the heterogeneity (...) of human behaviours across history, space, and cultures. Defenders of the universalist approach tend to criticise idiographic methods because such methods can lead to relativism or may lack generality. To overcome explanatory limitations of proposals that adopt either universalist or contextualist approaches in isolation, I propose a philosophical model that integrates contributions from both traditions: the psycho-historical theory of agent-identification. This theory investigates how the tracking processes that humans use for identifying agents interact with the unique socio-historical contexts that support agent-identification practices. In integrating hypotheses about the history of agents with psychological and epistemological principles regarding agent-identification, the theory can generate novel hypotheses regarding the distinction between recognition-based, heuristic-based, and explanation-based agent-identification. (shrink)

This article addresses the phenomenology of aesthetic experience. It first, critically, considers one of the most influential approaches to the psychophysics of aesthetic perception, viz. neuroaesthetics. Hereafter, it outlines constitutive tenets of aesthetic perception in terms of a particular intentional relation to the object. The argument comes in three steps. First, I show the inadequacies of the neuroaesthetics of beauty in general and Semir Zeki’s and V.J. Ramachandran’s versions of it in particular. The neuroaesthetics of beauty falls short, because it (...) develops hypotheses of aesthetic experience which have no consequences for the understanding of what art is, that is, how artists produce visual meaning effects in their works. This is so because they make the rewarding feeling of beauty the cornerstone of aesthetic experience. Next, I show why and how aesthetic experience should be defined relative to its object and the tools for meaning-making specific to that object, and not relative to the feeling (of beauty) it may elicit. Finally, I sketch the import this fact may have on a research program in empirical aesthetics. (shrink)

The concept of authenticity is central to how people value many different types of objects and yet there is considerable disagreement about how individuals evaluate authenticity or how the concept itself should be defined. This paper attempts to reconcile previous approaches by proposing a novel view of authenticity. Specifically, I draw upon past research on psychological essentialism and propose that when people evaluate the authenticity of objects, they do so by evaluating the extent to which the object embodies or reflects (...) a valued essence. I suggest that this explanation of authenticity provides an overarching framework that describes how people evaluate object authenticity across a variety of contexts and I report the results of three experiments that directly test the predictions made by this explanation. (shrink)

Although the inherence heuristic is a versatile cognitive process that addresses a wide range of psychological phenomena, we propose that ownership information represents an important test case for evaluating both the boundaries of Cimpian & Salomon's model and its effectiveness as a mechanism for explaining psychological essentialism.

Anjan Chatterjee has promoted an analogy between the Bengalese finch and the human artist. With reduced selective pressure from females due to its domestication, the male finch’s song has become more elaborate. Similarly, art’s lack of a practical function facilitates the creative generativity shown by artists. I argue that this analogy is flawed on both sides. Only recently has some art been regarded as non-functional. And the elaboration of the finch’s song is an effect of female selection under the conditions (...) of domestication. (shrink)

The role of personal background knowledge—in particular knowledge about the context of production of an artwork—has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches’ explanatory power and framing their collaboration with the humanities (Bullot and Reber 2012). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal background (...) knowledge empirically. I claim that the role of intention attribution in art experience has been incorrectly accounted in the literature because of an overly narrow definition of “intention.” I suggest that the observer can recover not only the artist’s abstract projects, but any kind of mental states that have played a causal role during the production of the work. In addition, I suggest that this recovery occurs in large part unconsciously and/or implicitly. I provide support for these claims by distinguishing three families of psychological mechanisms of intention attribution that are activated by artworks: one involved in the cognition of artifacts, one devoted to communication, and one involved in action perception. (shrink)

Psychological essentialism is an intuitive folk belief positing that certain categories have a non-obvious inner “essence” that gives rise to observable features. Although this belief most commonly characterizes natural kind categories, I argue that psychological essentialism can also be extended in important ways to artifact concepts. Specifically, concepts of individual artifacts include the non-obvious feature of object history, which is evident when making judgments regarding authenticity and ownership. Classic examples include famous works of art (e.g., the Mona Lisa is authentic (...) because of its provenance), but ordinary artifacts likewise receive value from their history (e.g., a worn and tattered blanket may have special value if it was one’s childhood possession). Moreover, in some cases, object history may be thought to have causal effects on individual artifacts, much as an animal essence has causal effects. I review empirical support for these claims and consider the implications for both artifact concepts and essentialism. This perspective suggests that artifact concepts cannot be contained in a theoretical framework that focuses exclusively on similarity or even function. Furthermore, although there are significant differences between essentialism of natural kinds and essentialism of artifact individuals, the commonalities suggest that psychological essentialism may not derive from folk biology but instead may reflect more domain-general perspectives on the world. (shrink)

Art theory has consistently emphasised the importance of situational, cultural, institutional and historical factors in viewers’ experience of fine art. However, the link between this heavily context-dependent interpretation and the workings of the mind is often left unexamined. Drawing on relevance theory—a prominent, cogent and productive body of work in cognitive pragmatics—we here argue that fine art achieves its effects by prompting the use of cognitive processes that are more commonly employed in the interpretation of words and other stimuli presented (...) in a communicative context. We describe in particular how institutional factors effectively co-opt these processes for new ends, allowing viewers to achieve cognitive effects that they otherwise would not, and so provide cognitivist backing for an Institutional Theory of Art, such as that put forward by Arthur Danto. More generally, we situate and describe the Western fine art tradition as a phenomenon that is a consequence of both the cognitive processes involved in communication, and of cultural norms, practices and institutions. (shrink)

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)

Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...) is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins. (shrink)

Current theories assume that perception and affect are separate realms of the mind. In contrast, we argue that affect is a genuine online-component of perception instantaneously mirroring the success of different perceptual stages. Consequently, we predicted that the success (failure) of even very early and cognitively encapsulated basic visual Processing steps would trigger immediate positive (negative) affective responses. To test this assumption, simple visual stimuli that either allowed or obstructed early visual processing stages without participants being aware of this were (...) presented briefly. Across 5 experiments, we found more positive affective responses to stimuli that allowed rather than obstructed Gestalt completion at certain early visual stages (Experiments 1–3; briefest presentation 100 ms with post-mask), and visual disambiguation in possible vs. impossible Necker cubes (Experiments 4 and 5; briefest presentation 100 ms with post-mask). This effect was observed both on verbal preference ratings (Experiments 1, 2, and 4) and as facial muscle responses occurring within 2–4 s after stimulus onset (zygomaticus activity; Experiments 3 and 7). For instance, in participants unaware of spatial possibility we found affective discrimination between possible and impossible Necker cubes (the famous Freemish Crate) for 100 ms presentation timings, although a conscious discrimination took more than 2000 ms (Experiment 4). (shrink)

Musical frissons (or chills) have been at the forefront of both philosophical and psychological research on audience responses to music. The aim of this article is to argue that frissons also play an important role in the experience of dance performances. Following Jerrold Levinson’s distinction between sound-quality frissons and sound-structure frissons, the article zooms in on the concept of conflict-induced frissons, which feature prominently in a variety of art forms besides music, from film to literature, and it is of crucial (...) importance for understanding the audience reaction to some dance performances. A case study of Pina Bausch’s choreographies is given to illustrate this point. (shrink)