In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.

In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.

In the formative years of psychiatry Freud, Bleuler, and Jaspers all studied Daniel Paul Schreber's Memoirs of My Nervous Illness as a model of psychotic thought. Sass provides a nuanced interpretation of Schreber's Memoirs in the context of Wittgenstein's analysis of philosophical solipsism. A dauntless critic of the illusions of philosophy, Wittgenstein likened the speculative excesses of traditional metaphysics to mental illness. Sass observes that many of the "intellectual diseases" that Wittgenstein discerned - diseases involving detachment from social existence and (...) practical concerns, and exaggerated processes of abstraction and self-consciousness - have striking affinities with the symptoms of schizophrenia. Like the philosophical solipsist, the schizophrenic may define his or her own consciousness as the center of the universe - and may experience his or her delusional world as a product of that same consciousness. (shrink)