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)

A notable feature of classical American pragmatism is its close association with the birth of experimental psychology. In particular, William James’ work as a psychologist influenced, and was influenced by, his pragmatism. This paper seeks to support this reading of the relation between Jamesian psychology and pragmatism, particularly through his “Sentiment of Rationality” and the later contention that the true is the satisfactory. In addition, James’ insights are tested and expanded through reference to contemporary research on processing fluency, as well (...) as concepts of ecological rationality. (shrink)

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...) of aesthetic diversity, and they engage in a collective dialogue about these issues. (shrink)

Fechner's conception of psychophysics included both “outer psychophysics” the relation between stimulus intensity and the response reflecting sensation strength, and “inner psychophysics” the relation between neurelectric responses and sensation strength. In his own time outer psychophysics focussed on the form of the psychophysical law, with Fechner espousing a logarithmic law, Delboeuf a variant of the logarithmic law incorporating a resting level of neural activity, and Plateau a power law. One of the issues on which the dispute was focussed concerned the (...) appearance of contrasts if the overall illumination was increased or decreased; another issue was the question of whether a sensation of a “just noticeable difference” established for one value of a sensory dimension appeared the same for a value elsewhere on the dimension. The development of “inner psychophysics” led through the works of Delboeuf, Solomons, Jastrow, and Thurstone to modern signal detection theory. A third line of research, devoted to the question of what was meant by the “measurement” of sensation strength, stemmed from the criticism of Fechner's work by von Kries (1882) and others. Although a valid body of science could be built up without the intervening variable called “sensation strength,” such a science might be a cumbersome representation of reality. When an optical contrast is set up, and its overall illumination is increased or decreased, subjective contrasts involving medium levels of lightness vary little as illumination varies (as a power law based on sensation ratios or a logarithmic law based on sensation differences predict), but subjective contrasts involving extreme levels of lightness might be subject to the effects of other variables. (shrink)

This paper reports on the results from two studies that were conducted eight years apart with different respondents. The studies examined the role of the Mere Exposure Effect on ethical tolerance or acceptability of particular business decisions. The results from Study 1 show there is a significant difference in ethical judgment for 12 out of 16 vignettes between those who have been exposed to such situations compared to those who have not been exposed to them. In those 12 situations, those (...) who have been exposed to such situations adopted a more tolerant stance toward the ethically questionable behavior. The results from Study 2 show there is a significant difference in ethical judgment for 9 out of 16 vignettes between those who have been exposed to such situations compared to those who have not been exposed to them. Again, in those nine situations, those who have been exposed to such situations adopted a more tolerant stance toward the ethically questionable behavior. Interestingly, the 9 situations in Study 2 were 9 of the 12 situations found to be significant in Study 1, and in the same direction, suggesting that we have found consistency in our findings and support for the Mere Exposure Effect. Implications are provided for both higher education and practitioners. (shrink)

This contribution proposes how beholders may internally process unfinished works of art. It does so by considering five of Michelangelo Buonarroti’s interrupted sculptures and pointing out their empathic and imaginative potential. The beholder focused on the surface, I propose, is inclined to mentally simulate the artist’s gesture that drafted the sculptures through the visible graphic signs of the chisels. This inner simulation takes place within the activation of various brain networks, located in the brain’s motor system. Renaissance authors associated the (...) observation of the unfinished to learning and, as this article shows, this assumption seems to find confirmation in recent neuroscientific studies on mirror neurons and imitation learning. In this way, the empathic engagement established between the beholder and the work of art observed – as well as the role played by embodied simulation and imagination in this kind of visual perception – clarifies how the incompleteness can also have that pedagogical function recognised by Giorgio Vasari and Benvenuto Cellini. (shrink)

Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic framework can (...) help us understand the conceptual basis and normativity of art. In particular, the ecology of art, an understanding of how individuals interact within particular environments, can help us understand the engineered art niches in which we create and experience art. Each niche is associated with a particular deme, or set of individuals that interact within that niche, and a set of cognitive, epistemic, and pedagogical technologies that form the conceptual basis of a niche-dependent normativity. This is to be contrasted with the niche-independent normativity revealed by many of the scientific approaches. This framework, and the conflicting streams of normativity it reveals, allows us to better understand conflicts in normativity and the implausibility of unequivocal and universal normative principles. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and-due to its unique in situ, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing (...) a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by administered pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art pieces. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

This study investigates global properties of three categories of English text: canonical fiction, non-canonical fiction, and non-fictional texts. The central hypothesis of the study is that there are systematic differences with respect to structural design features between canonical and non-canonical fiction, and between fictional and non-fictional texts. To investigate these differences, we compiled a corpus containing texts of the three categories of interest, the Jena Corpus of Expository and Fictional Prose. Two aspects of global structure are investigated, variability and self-similar (...) patterns, which reflect long-range correlations along texts. We use four types of basic observations, the frequency of POS-tags per sentence, sentence length, lexical diversity, and the distribution of topic probabilities in segments of texts. These basic observations are grouped into two more general categories, the lower-level properties and, which are observed at the level of the sentence, and the higher-level properties and, which are observed at the textual level. The observations for each property are transformed into series, which are analyzed in terms of variance and subjected to Multi-Fractal Detrended Fluctuation Analysis, giving rise to three statistics: the degree of fractality () of the fractal spectrum. The statistics thus obtained are compared individually across text categories and jointly fed into a classification model. Our results show that there are in fact differences between the three text categories of interest. In general, lower-level text properties are better discriminators than higher-level text properties. Canonical fictional texts differ from non-canonical ones primarily in terms of variability in lower-level text properties. Fractality seems to be a universal feature of text, slightly more pronounced in non-fictional than in fictional texts. On the basis of our results obtained on the basis of corpus data we point out some avenues for future research leading toward a more comprehensive analysis of textual aesthetics, e.g., using experimental methodologies. (shrink)

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.

Tension and suspense are powerful emotional experiences that occur in a wide variety of contexts (e.g., in music, film, literature, and everyday life). The omnipresence of tension experiences suggests that they build on very basic cognitive and affective mechanisms. However, the psychological underpinnings of tension experiences remain largely unexplained, and tension and suspense are rarely discussed from a general, domain-independent perspective. In this paper, we argue that tension experiences in different contexts (e.g., musical tension or suspense in a movie) build (...) on the same underlying psychological processes. We discuss key components of tension experiences and propose a domain-independent model of tension and suspense. According to this model, tension experiences originate from states of conflict, instability, dissonance, or uncertainty that trigger predictive processes directed at future events of emotional significance. We also discuss possible neural mechanisms underlying experiences of tension. The model provides a theoretical framework that can inform future empirical research on tension phenomena. (shrink)