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Switch to: References
Citations of:
Shape and representational status in children's early naming
Cognition 66 (2):B35-B47 (1998)
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The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have sought to (...) |
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Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...) |
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Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding. |
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Authentic objects are those that have a historical link to a person, event, time, or place of some significance. The current study examines everyday beliefs about authentic objects, with three primary goals: to determine the scope of adults' evaluation of authentic objects, to examine such evaluation in two distinct cultural settings, and to determine whether a person's attachment history predicts evaluation of authentic objects. We found that college students in the UK and the USA consistently evaluate a broad range of (...) |
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In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...) |
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Much of Alvin Plantinga’s Where the Conflict Really Lies will contain few surprises for those who have been following his work over the past decades. This —I hasten to add — is nothing against the book. The fact alone that his ideas on various topics, which have appeared scattered throughout the literature, are now actualized, applied to the debate about the conflict between science and religion, and organized into an overarching argument with a single focus makes this book worthwhile. Moreover, (...) |
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The argument from design stands as one of the most intuitively compelling arguments for the existence of a divine Creator. Yet, for many scientists and philosophers, Hume's critique and Darwin's theory of natural selection have definitely undermined the idea that we can draw any analogy from design in artifacts to design in nature. Here, we examine empirical studies from developmental and experimental psychology to investigate the cognitive basis of the design argument. From this it becomes clear that humans spontaneously discern (...) |
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Children and adults commonly produce more generic noun phrases (e.g., birds fly) about animals than artifacts. This may reflect differences in participants’ generic knowledge about specific animals/artifacts (e.g., dogs/chairs), or it may reflect a more general distinction. To test this, the current experiments asked adults and preschoolers to generate properties about novel animals and artifacts (Experiment 1: real animals/artifacts; Experiments 2 and 3: matched pairs of maximally similar, novel animals/artifacts). Data demonstrate that even without prior knowledge about these items, the (...) |
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Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain (...) |
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