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.

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

The central problem for pragmatics is that sentence meaning vastly underdetermines speaker’s meaning. The goal of pragmatics is to explain how the gap between sentence meaning and speaker’s meaning is bridged. This paper defends the broadly Gricean view that pragmatic interpretation is ultimately an exercise in mind-reading, involving the inferential attribution of intentions. We argue, however, that the interpretation process does not simply consist in applying general mind-reading abilities to a particular (communicative) domain. Rather, it involves a dedicated comprehension module, (...) with its own special principles and mechanisms. We show how such a metacommunicative module might have evolved, and what principles and mechanisms it might contain. (shrink)

(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).

Recent theorists suggest that our capacity to respond affectively to fictions depends on our ability to engage in simulation: either simulating a character in the fiction, or simulating someone reading or watching the fiction as though it were fact. We argue that such accounts are quite successful at accounting for many of the basic explananda of our affective engagements in fiction. Nonetheless, we argue further that simulationist accounts ultimately fail, for simulation involves an ineliminably ego-centred element that is atypical of (...) our experience of fiction. We then draw on recent work in philosophical psychology to articulate a more psychologically plausible account of our emotional engagement with fiction. (shrink)

This collection of 16 original articles by prominent theorists from a variety of disciplines provides an excellent insight into current thinking about artifacts. The four sections address issues concerning the metaphysics of artifacts, the nature and cognitive development of artifact concepts, and the place of artifacts in evolutionary history. The most overtly philosophical contributions are in the first two sections. Metaphysical issues addressed include the ‘mind-dependence’ of artifacts and the bearing of this on their ‘real’ existence, and the distinction between (...) natural and artifact kinds, and its implications for issues in epistemology and semantics – for example, whether there is ‘maker's knowledge’ of artifacts, and whether ‘direct’ theories of reference apply to artifact-kind terms. The papers concerned with the nature of artifact concepts – the ways in which we represent artifacts to ourselves – address how judgements of artifact identity track judgements about manifest appearance, function, and maker's intentions, and the neuroscientific basis for artifact categorization. Papers …. (shrink)

Function theorists routinely speculate that a viable function theory will be equally applicable to biological traits and artifacts. However, artifact function has received only the most cursory scrutiny in its own right. Closer scrutiny reveals that only a pluralist theory comprising two distinct notions of function--proper function and system function--will serve as an adequate general theory. The first section describes these two notions of function. The second section shows why both notions are necessary, by showing that attempts to do away (...) with one of them fail. This demonstration draws on examples from the artifactual realm to motivate major points of the argument. The third section is an outline of artifact function. It confirms the conclusions of the second section, and also begins the task of describing some of the special features of artifact function needing accommodation within the general theory. (shrink)

Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

This is not your psychoanalyst's unconscious.

This chapter examines the extent to which there are continuities between the cognitive processes and epistemic practices engaged in by human hunter-gatherers, on the one hand, and those which are distinctive of science, on the other. It deploys anthropological evidence against any form of 'no-continuity' view, drawing especially on the cognitive skills involved in the art of tracking. It also argues against the 'child-as-scientist' accounts put forward by some developmental psychologists, which imply that scientific thinking is present in early infancy (...) and universal amongst humans who have sufficient time and resources to devote to it. In contrast, a modularist kind of 'continuity' account is proposed, according to which the innately channelled architecture of human cognition provides all the materials necessary for basic forms of scientific reasoning in older children and adults, needing only the appropriate sorts of external support, social context, and background beliefs and skills in order for science to begin its advance. (shrink)

How the various things that are said to have meaning—purpose, natural signs, linguistic signs, perceptions, and thoughts—are related to one another.

Reviewed Work: Explaining Explanation by David-Hillel Ruben .

The 'Theatre of the Absurd' has become a familiar term to describe a group of radical European playwrights – writers such as Samuel Beckett, Eugène Ionesco, Jean Genet and Harold Pinter – whose dark, funny and humane dramas wrestled profoundly with the meaningless absurdity of the human condition. It is a testament to the power and insight of Martin Esslin's landmark work, originally published in 1961, that its title should enter the English language in the way that it has. Now (...) available in the Bloomsbury Revelations series with a new preface by Marvin Carlson, The Theatre of the Absurd remains to this day a clear-eyed work of criticism on a compelling period of European writing. (shrink)

Discusses the social aspects of art, popular culture as art, galleries, museums, and the meaning of art.

Suggests ways to raise levels of visual literacy and enhance artistic enjoyment.

Perceptual fluency is the subjective experience of ease with which an incoming stimulus is processed. Although perceptual fluency is assessed by speed of processing, it remains unclear how objective speed is related to subjective experiences of fluency. We present evidence that speed at different stages of the perceptual process contributes to perceptual fluency. In an experiment, figure-ground contrast influenced detection of briefly presented words, but not their identification at longer exposure durations. Conversely, font in which the word was written influenced (...) identification, but not detection. Both contrast and font influenced subjective fluency. These findings suggest that speed of processing at different stages condensed into a unified subjective experience of perceptual fluency. (shrink)

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...) (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art. (shrink)

Barbara Stafford is a pioneering art historian whose research has long helped to bridge the divide between the humanities and cognitive sciences. In _A Field Guide to a New Meta-Field_, she marshals a distinguished group of thinkers to forge a ground-breaking dialogue between the emerging brain sciences, the liberal arts, and social sciences. Stafford’s book examines meaning and mental function from this dual experimental perspective. The wide-ranging essays included here—from Frank Echenhofer’s foray into shamanist hallucinogenic visions to David Bashwiner’s analysis (...) of emotion and danceability—develop a common language for implementing programmatic and institutional change. Demonstrating how formerly divided fields are converging around shared issues, _A Field Guide to a New Meta-Field _maps a high-level, crossdisciplinary adventure from one of our leading figures in visual studies. (shrink)