Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under (...) which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions, we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction. (shrink)

The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...) we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In every known human society, some kind—usually many kinds—of art is practiced, frequently with much vigor and pleasure, so that one could at least hypothesize that “artifying” or “artification” is a characteristic behavior of our species. Yet human ethologists and sociobiologists have been conspicuously unforthcoming about this observably widespread and valued practice, for a number of stated and unstated reasons. The present essay is a position paper that offers an overview and analysis of conceptual issues and problems inherent in viewing (...) art and/or aesthetics as adaptive, and it presents a speculative account of a human behavior of art. (shrink)

This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...) the archaeological and ethnographic literature, and then go on to critique his assessment of philosophical and evolutionary theories, offering some alternative perspectives that might better benefit his project. (shrink)

This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity and scope (...) of the field and his critique is timely and unparalleled. A laudable effort, however it may have benefited from espousing a co-evolutionary model more explicitly. Moreover there may be reason to question the usefulness of the standard set of distinctions (‘adaptation’, ‘spandrel’, ‘technology’) that Davies appeals to. (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

Over four decades, my ideas about the arts in human evolution have themselves evolved, from an original notion of art as a human behaviour of “making special” to a full-fledged hypothesis of artification. A summary of the gradual developmental path (or route) of the hypothesis, based on ethological principles and concepts, is given, and an argument presented in which artification is described as an exaptation whose roots lie in adaptive features of ancestral mother–infant interaction that contributed to infant survival and (...) maternal reproductive success. I show how the interaction displays features of a ritualised behavior whose operations (formalization, repetition, exaggeration, and elaboration) can be regarded as characteristic elements of human ritual ceremonies as well as of art (including song, dance, performance, literary language, altered surroundings, and other examples of making ordinary sounds, movement, language, environments, objects, and bodies extraordinary). Participation in these behaviours in ritual practices served adaptive ends in early Homo by coordinating brain and body states, and thereby emotionally bonding members of a group in common cause as well as reducing existential anxiety in individuals. A final section situates artification within contemporary philosophical and popular ideas of art, claiming that artifying is not a synonym for or definition of art but foundational to any evolutionary discussion of artistic/aesthetic behaviour. (shrink)