In philosophy of aesthetics, scholars commonly express a commitment to the premise that there is a distinctive type of judgment that can be meaningfully labeled “aesthetic”, and that these judgments are distinctively different from other types of judgments. We argue that, within an Aristotelian framework, there is no clear avenue for meaningfully differentiating “aesthetic” judgment from other types of judgment, and, as such, we aim to question the assumption that aesthetic judgment does in fact constitute a distinctive kind of judgment (...) that is in need of, or can be subject to, distinctive theorizing. We advance our argument primarily through demonstrating that leading contemporary accounts of aesthetic judgment do not successfully distinguish a type of judgment in that they do not tell us how making an aesthetic judgment differs substantially from judging that 2 + 3 = 5, that football is entertaining, or that today is Tuesday. (shrink)

Metacognitive mental states are mental states about mental states. For example, I may be uncertain whether my belief is correct. In social discourse, an interlocutor’s metacognitive certainty may constitute evidence about the reliability of their testimony. For example, if a speaker is certain that their belief is correct, then we may take this as evidence in favour of their belief, or its content. This paper argues that, if metacognitive certainty is genuine evidence, then it is disproportionate evidence for extreme beliefs. (...) In support of the argument, we report findings from five studies with different participant samples, designs, and measures. These studies show that, the more extreme an agent’s belief (positive or negative), the more certain they are about it, and vice versa. This relationship might contribute to moralism, virtue signalling, and polarisation, which in turn may be epistemically and morally problematic. Therefore, we caution against taking metacognitive certainty as genuine evidence. (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)

While much has been said about what ought to be done about the statues and monuments of racist, colonial, and oppressive figures, a significantly undertheorised aspect of the debate is the aesthetics of commemorations. I believe that this philosophical oversight is rather unfortunate. I contend that taking the aesthetic value of commemorations seriously can help us a) better understand how and the extent to which objectionable commemorations are objectionable, b) properly formulate responses to aesthetic defences of objectionable commemorations, and c) (...) help us explore aesthetic solutions—for example, artistic interventions as counterspeech—to objectionable commemorations. Here, I propose that the aesthetic value of objectionable commemorations can amplify the force of the objectionable messages conveyed, and the moral disvalue of objectionable commemorations can hinder our appreciation of their aesthetic value. These two considerations shall help us answer the practical question of what to do about objectionable commemorations of apparently good aesthetic value. Both, I shall argue, give us further reason to remove, replace, recontextualise, or even vandalise objectionable commemorations. Sometimes we need to save the art from its own immorality to best respect its aesthetic value. (shrink)

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing (...) arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures. (shrink)

Hace treinta años apareció un libro que estaba destinado a tener un gran impacto: Descartes’ Error. Su autor era Antonio Damasio (1994) y, tras su aparición en inglés, se sucedieron tanto las críticas, positivas en su mayor parte, como las traducciones que incluyeron la de lengua castellana. Cuatro años después, en 1999, la revista Enrahonar publicó un número especial dedicado al filósofo francés, festejando con algo de retraso el haberse cumplido cuatrocientos años desde su nacimiento en 1596. En el homenaje (...) de Enrahonar apareció un artículo que repasaba la lectura de Descartes por parte de Damasio. Volvamos ahora, aprovechando parte de lo escrito desde entonces, sobre las claves que nos proporcionan las neurociencias hoy día acerca de la relación entre mente y cerebro que comenzó a sopesar Descartes. (shrink)

The aim of the study was to assess the effects of visual aesthetic perception on event-related potentials . Eight subjects assigned an aesthetic judgment and a 10-step beauty estimation to the target stimuli, consisting of famous artistic pictures and geometric shapes. In a further task, the subjects performed a motor response to the previously judged pictures and geometric shapes. ERPs were recorded through 54 scalp electrodes during both tasks. The P3b amplitude was increased during the categorization of the geometric shapes (...) compared to the artistic figures and during the vision of the beautiful targets preceding the motor response. The categorization of the aesthetic qualities of geometrical shapes seems to induce a higher level of attention, while a higher arousal variation was elicited by the recognition of beauty, in any form that was presented. (shrink)

This paper explores the role of aesthetic judgements in mathematics by focussing on the relationship between the epistemic and aesthetic criteria employed in such judgements, and on the nature of the psychological experiences underpinning them. I claim that aesthetic judgements in mathematics are plausibly understood as expressions of what I will call ‘aesthetic-epistemic feelings’ that serve a genuine cognitive and epistemic function. I will then propose a naturalistic account of these feelings in terms of sub-personal processes of representing and assessing (...) the relation between cognitive processes and certain properties of the stimuli at which they are directed. (shrink)

The present paper briefly reviews recent advances in spatial cognition. A central tenet in spatial cognition is that spatial information is simultaneously encoded in multiple formats. It also appears that at the level of neural processing there is no clear distinction between the representation of space and the control of action. I will argue that these findings offer novel insight into the nature of dance and choreography and that the concepts used by cognitive neuroscientists to frame their findings can be (...) fruitfully applied in a choreographic setting. Finally, I will speculate that both dancing oneself and watching dance may enhance one’s experience of space. (shrink)

Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical network (...) that includes visual, parietal, limbic and prefrontal regions. Representational paintings, which depict scenes cluttered with familiar objects, evoked stronger activation than indeterminate and abstract paintings in higher-tier visual areas. Perception of scrambled paintings was associated with imagery-related activation in the precuneus and prefrontal cortex. Finally, representational paintings evoked stronger activation than indeterminate paintings in the temporoparietal junction. Our results suggest that perception of familiar content in art works is mediated by object recognition, memory recall and mental imagery, cognitive processes that evoke activation within a distributed cortical network. (shrink)

This article develops some of the many ways in which Leonardo and Descartes, throughout the prolific period of human valuation from the fifteenth to the seventeenth centuries, seem to have approached and anchored their seminal contributions on the Cartesian body and metaphysical mind. While Leonardo masterfully developed an iterative thinking system of visual design applied to nature and artifacts, Descartes laid the groundwork for methodical critical thinking in dimensions that ironically ranged from dreams to the controlled narrative, from a deceptive (...) body to a rational man. In an interdisciplinary articulation of historical and neurobiological leanings, contemporary concepts of the cognitive emotional brain, led by Damasio as the basis for his conclusions about the "Descartes Error", as well as a torrent of growing evidence that supports high cognitive abilities in associative processes mediated by action/body lead us to a re-evaluation today of the legacies of Leonardo and Descartes, rescuing a scientific mind/brain/body process that underlies the human mastering of a universal technology of discourse that would revolutionize science. (shrink)