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The Art Instinct: Beauty, Pleasure, and Human Evolution

New York: Oxford University Press (2009)

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  1. Comments on Mohan Matthen's ‘The Pleasure of Art’.Cynthia A. Freeland - 2017 - Australasian Philosophical Review 1 (1):29-39.
    ABSTRACTThis paper examines Mohan Matthen's account of aesthetic pleasure. The first part explores implications of Matthen's notion of ‘fit’ between features of art objects and our pleasurable contemplation of them. Through historical comparisons with Plato and Dewey, I challenge his claim not to be offering a theory of aesthetic norms. The second part of my paper sketches how Matthen might address two important problems of contemporary aesthetics: the first concerning interpretation, and the second concerning genres of art that evoke negative (...)
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  • The Triadic Roots of Human Cognition: “Mind” Is the Ability to go Beyond Dyadic Associations.Norman D. Cook - 2018 - Frontiers in Psychology 9:293649.
    Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species’ ability to go beyond simple “dyadic associations” and to process the relations among three items of information simultaneously. Classic explanations of the “triadic” nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I (...)
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  • Stimmung: From Mood to Atmosphere.Angelika Krebs - 2017 - Philosophia 45 (4):1419-1436.
    Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...)
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  • Landscape and Health: Connecting Psychology, Aesthetics, and Philosophy through the Concept of Affordance.Laura Menatti & Antonio Casado da Rocha - 2016 - Frontiers in Psychology 7:182719.
    In this paper we address a frontier topic in the humanities, namely how the cultural and natural construction that we call landscape affects well-being and health. Following an updated review of evidence-based literature in the fields of medicine, psychology, and architecture, we propose a new theoretical framework called “processual landscape,” which is able to explain both the health-landscape and the medical agency-structure binomial pairs. We provide a twofold analysis of landscape, from both the cultural and naturalist points of view: in (...)
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  • Philosophy of mind and cognitive science since 1980.Elizabeth Schier & John Sutton - 2014 - In Graham Oppy & Nick Trakakis (eds.), History of Philosophy in Australia and New Zealand. Dordrecht: Springer.
    If Australasian philosophers constitute the kind of group to which a collective identity or broadly shared self-image can plausibly be ascribed, the celebrated history of Australian materialism rightly lies close to its heart. Jack Smart’s chapter in this volume, along with an outstanding series of briefer essays in A Companion to Philosophy in Australia and New Zealand (Forrest 2010; Gold 2010; Koksvik 2010; Lycan 2010; Matthews 2010; Nagasawa 2010; Opie 2010; Stoljar 2010a), effectively describe the naturalistic realism of Australian philosophy (...)
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  • Brian Boyd’s Evolutionary Account of Art: Fiction or Future?: Brian Boyd: On the Origin of Stories: Evolution, Cognition, and Fiction. The Belknap Press of Harvard University Press, Cambridge, MA/london, 2009, 540 pp, $35.00 hbk, ISBN 978-0-6740-3357-3. [REVIEW]Jan Verpooten - 2011 - Biological Theory 6 (2):176-183.
    There has been a recent surge of evolutionary explanations of art. In this article I evaluate one currently influential example, Brian Boyd’s recent book On the Origin of Stories: Evolution, Cognition, and Fiction (2009). The book offers a stimulating collection of findings, ideas, and hypotheses borrowed from a wide range of research disciplines (philosophy of art and art criticism, anthropology, evolutionary and developmental psychology, neurobiology, ethology, etc.), brought together under the umbrella of evolution. However, in so doing Boyd lumps together (...)
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  • Rethinking Visual Ethics: Evolution, Social Comparison and the Media's Mono-Body in the Global Rise of Eating Disorders.Shiela Reaves - 2011 - Journal of Mass Media Ethics 26 (2):114 - 134.
    This study applies evolution theory to visual ethics and argues that social comparison theory favored by scholars of eating disorders is actually a Darwinian maladaptation to the media's widespread digital manipulation of women's bodies creating the thin ideal. An evolutionary perspective suggests how the media is enmeshed and why social comparison of the mediated ?mono-body? will continue. This study has three sections: 1) evolution theory and morality; 2) social comparison, biology of the social gaze, and anthropological evidence of Western media's (...)
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  • Nature's Longing for Beauty: Elegance as an Evolutionary Attractor, with Implications for Human Systems.Charles Smith - 2010 - World Futures 66 (7):504-510.
    (2010). Nature's Longing for Beauty: Elegance as an Evolutionary Attractor, with Implications for Human Systems. World Futures: Vol. 66, No. 7, pp. 504-510.
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  • Experimental Philosophy of Art and Aesthetics.Elzė Sigutė Mikalonytė, Ryan Doran & Shen-yi Liao - 2024 - Stanford Encyclopedia of Philosophy.
    Experimental philosophy of art and aesthetics is the application of the methods of experimental philosophy to questions about art and aesthetics. By taking a scientific approach to experiences with art and aesthetic phenomena, it is continuous with the longstanding research program in psychology called empirical aesthetics. However, it is also continuous with traditional research in philosophy of art and aesthetics because it is centered on many of the same timeless questions. Like other branches of experimental philosophy, such as experimental moral (...)
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  • What is Art? The Role of Intention, Beauty, and Institutional Recognition.Elzė Sigutė Mikalonytė & Markus Kneer - 2023 - Proceedings of the Annual Meeting of the Cognitive Science Society 45:3039-3047.
    In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the folk as (...)
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  • The Strangest Sort of Map: Reply to Commentaries.Stephen Asma - 2021 - Evolutionary Studies in Imaginative Culture 5 (2):75-82.
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  • Indigenous and Traditional Visual Artistic Practices: Implications for Art Therapy Clinical Practice and Research.Girija Kaimal & Asli Arslanbek - 2020 - Frontiers in Psychology 11:540968.
    In this paper, we present a review of research on the role of traditional and indigenous forms of visual artistic practice in promoting physical health and psychosocial well-being, particularly as it relates to the discipline of art therapy. Using extant literature we present an overview of how art making has historically had a therapeutic role in human lives and how it can inform the modern interpretation and profession of art therapy. Thereafter, we provide a critical review of specific studies that (...)
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  • Cognitive Processes Underlying the Artistic Experience.Alejandra Wah - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):45-58.
    Based on the field of aesthetics, for centuries philosophers and more recently scientists have been concerned with understanding the artistic experience focusing on emotional responses to the perception of artworks. By contrast, in the last decades, evolutionary biology has been concerned with explaining the artistic experience by focusing on the cognitive processes underlying this experience. Up until now, the cognitive mechanisms that allow humans to experience objects and events as art remain largely unexplored and there is still no conventional use (...)
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  • Affect, Belief, and the Arts.Rami Gabriel - 2021 - Frontiers in Psychology 2.
    The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...)
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  • Titles change the esthetic appreciations of paintings.Gernot Gerger & Helmut Leder - 2015 - Frontiers in Human Neuroscience 9.
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  • Body, Brain, and Beauty: The Place of Aesthetics in the World of the Mind.Zdravko Radman - 2012 - Diogenes 59 (1-2):41-51.
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  • Denis Dutton . The Art Instinct: Beauty, Pleasure and Human Evolution. Bloomsbury, New York, NY. $25.Ryan Nichols - 2010 - Journal of Cognition and Culture 10 (3-4):404-407.
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  • Feedback from moral philosophy to cognitive science.Regina A. Rini - 2015 - Philosophical Psychology 28 (4):569-588.
    A popular argument form uses general theories of cognitive architecture to motivate conclusions about the nature of moral cognition. This paper highlights the possibility for modus tollens reversal of this argument form. If theories of cognitive architecture generate predictions for moral cognition, then tests of moral thinking provide feedback to cognitive science. In certain circumstances, philosophers' introspective attention to their own moral deliberations can provide unique data for these tests. Recognizing the possibility for this sort of feedback helps to illuminate (...)
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  • Philosophical Aesthetics: A Naturalist Perspective.Laura Di Summa-Knoop - 2014 - Journal of Aesthetics and Phenomenology 1 (2):191-207.
    ABSTRACTCan a Naturalist Definition of art replace the historical and institutional positions argued for by philosophical aesthetics? This article considers Denis Dutton’s work in evolutionary psychology and his cluster Naturalist Definition of art. I begin with an analysis of the validity of what Dutton takes to be the most important criterion: Imaginative Experience. I propose a criticism of Dutton’s set of criteria coupled with a re-evaluation of what may be implied when referring to a naturalist basis for the arts. Specifically, (...)
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  • Roots and Route of the Artification Hypothesis.Ellen Dissanayake - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):15-32.
    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 (...)
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  • Approaches to Research in Art Therapy Using Imaging Technologies.Juliet L. King & Girija Kaimal - 2019 - Frontiers in Human Neuroscience 13:448965.
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  • Aesthetics and Bildung.Pauline von Bonsdorff - 2012 - Diogenes 59 (1-2):127-137.
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  • Persisting pan-institutional racism.Lantz Fleming Miller - 2017 - Philosophy and Social Criticism 43 (7):748-774.
    Which types of group-typing amounts to racism? The answer seemingly has to do with deeper physical or cultural traits over which an agent has no deliberate control but which are formative of the agent. In this article, I look to the cultural or ethnic bases of division of humans into races, albeit of a specific type: a basis that sees humanity climbing in a certain, presumably improving, direction. Those ethnicities that appear not to opt for this climb are commonly presumed (...)
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  • Creativity refined: Bypassing the gatekeepers of appropriateness and value.Alan Dorin & Kevin Korb - unknown
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  • Do Animals Make Art or the Evolutionary Continuity of Species: A Case for Uniqueness.Jerzy Luty - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):107-116.
    When Władysław Tatarkiewicz wrote that there are only two things that can be said about art: that it is a human activity, not a product of nature, and that it is a conscious activity (or its product), adding that every statement about art different from the ones mentioned above was always finally overthrown (Tatarkiewicz, 1980, p. 37), he probably did not think that the first claim could be questioned by anyone. In the following paper, I will trace the history of (...)
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