In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

This commentary suggests that understanding the “Folk Psychology of Souls” requires studying a problem articulating ontology with psychology: How do human beings, both as perceivers and thinkers, track and refer to (1) living and dead intentional agents and (2) supernatural agents? The problem is discussed in the light of the principle of the ontological commitment in agent tracking.

Editorial: Objects and Sound Perception Content Type Journal Article Pages 5-17 DOI 10.1007/s13164-009-0006-3 Authors Nicolas J. Bullot, École des Hautes Études en Sciences Sociales Centre de Recherches sur les Arts et le Langage (CRAL/CNRS) 96 Bd Raspail 75006 Paris France Paul Égré, Institut Jean-Nicod (ENS/EHESS/CNRS) Département d’Etudes Cognitives de l’ENS 29 rue d’Ulm 75005 Paris France Journal Review of Philosophy and Psychology Online ISSN 1878-5166 Print ISSN 1878-5158 Journal Volume Volume 1 Journal Issue Volume 1, Number 1.

(in press, under contract with MIT Press, accepted on June 30th, 2006). Attention, Information and Epistemic Perception. In Terzis, G. & Arp, R. (Eds) Information and the Living Systems: Essays in the Philosophy of Biology. The MIT Press. (14,000 words).

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...) interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

The present article examines how people’s belief in an afterlife, as well as closely related supernatural beliefs, may open an empirical backdoor to our understanding of the evolution of human social cognition. Recent findings and logic from the cognitive sciences contribute to a novel theory of existential psychology, one that is grounded in the tenets of Darwinian natural selection. Many of the predominant questions of existential psychology strike at the heart of cognitive science. They involve: causal attribution (why is mortal (...) behavior represented as being causally related to one’s afterlife? how are dead agents envisaged as communicating messages to the living?), moral judgment (why are certain social behaviors, i.e., transgressions, believed to have ultimate repercussions after death or to reap the punishment of disgruntled ancestors?), theory of mind (how can we know what it is “like” to be dead? what social-cognitive strategies do people use to reason about the minds of the dead?), concept acquisition (how does a common-sense dualism interact with a formalized socio-religious indoctrination in childhood? how are supernatural properties of the dead conceptualized by young minds?), and teleological reasoning (why do people so often see their lives as being designed for a purpose that must be accomplished before they perish? how do various life events affect people’s interpretation of this purpose?), among others. The central thesis of the present article is that an organized cognitive “system” dedicated to forming illusory representations of (1) psychological immortality, (2) the intelligent design of the self, and (3) the symbolic meaning of natural events evolved in response to the unique selective pressures of the human social environment. (shrink)

Prior to the twentieth century, theories of knowledge were inherently perceptual. Since then, developments in logic, statis- tics, and programming languages have inspired amodal theories that rest on principles fundamentally different from those underlying perception. In addition, perceptual approaches have become widely viewed as untenable because they are assumed to implement record- ing systems, not conceptual systems. A perceptual theory of knowledge is developed here in the context of current cognitive science and neuroscience. During perceptual experience, association areas in the (...) brain capture bottom-up patterns of activation in sensory-motor areas. Later, in a top-down manner, association areas partially reactivate sensory-motor areas to implement perceptual symbols. The stor- age and reactivation of perceptual symbols operates at the level of perceptual components – not at the level of holistic perceptual expe- riences. Through the use of selective attention, schematic representations of perceptual components are extracted from experience and stored in memory (e.g., individual memories of green, purr, hot). As memories of the same component become organized around a com- mon frame, they implement a simulator that produces limitless simulations of the component (e.g., simulations of purr). Not only do such simulators develop for aspects of sensory experience, they also develop for aspects of proprioception (e.g., lift, run) and introspec- tion (e.g., compare, memory, happy, hungry). Once established, these simulators implement a basic conceptual system that represents types, supports categorization, and produces categorical inferences. These simulators further support productivity, propositions, and ab- stract concepts, thereby implementing a fully functional conceptual system. Productivity results from integrating simulators combinato- rially and recursively to produce complex simulations. Propositions result from binding simulators to perceived individuals to represent type-token relations. Abstract concepts are grounded in complex simulations of combined physical and introspective events. Thus, a per- ceptual theory of knowledge can implement a fully functional conceptual system while avoiding problems associated with amodal sym- bol systems. Implications for cognition, neuroscience, evolution, development, and artificial intelligence are explored. (shrink)

A normative constraint on theories about objects which we take to be real is explored: such theories are required to track the properties of the objects which they are theories of. Epistemic views in which observation (and generalizations of it) play a central role, and holist views which see epistemic virtues as applicable only to whole theories, are contrasted in the light of this constraint. It's argued that global-style epistemic virtues can't meet the constraint, although (certain) epistemic views within which (...) observation (and, more generally, thick epistemic access) are centralized do meet it. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Noël Carroll; Art and Human Nature, The Journal of Aesthetics and Art Criticism, Volume 62, Issue 2, 5 May 2004, Pages 95–107, https://doi.org/10.1111/j.1540-59.

The present volume provides an introduction to the major themes of work in experimental philosophy, bringing together some of the most influential articles in ...

This is not your psychoanalyst's unconscious.

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

The classic, influential essay in 'descriptive metaphysics' by the distinguished English philosopher.

This book offers an introduction to the way art is perceived, interpreted, and felt and approaches these mindful events from a multidisciplinary perspective.

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)