A proposal for the biological grounding of intrinsic teleology and sense-making through the theory of autopoiesis is critically evaluated. Autopoiesis provides a systemic lan- guage for speaking about intrinsic teleology but its original formulation needs to be elaborated further in order to explain sense-making. This is done by introducing adaptivity, a many-layered property that allows organisms to regulate themselves with respect to their conditions of via- bility. Adaptivity leads to more articulated concepts of behaviour, agency, sense-construction, health, and temporality than (...) those given so far by autopoiesis and enaction. These and other implications for understanding the organismic generation of values are explored. (shrink)

Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under (...) which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions, we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction. (shrink)

This paper proposes a basic revision of the understanding of teleology in biological sciences. Since Kant, it has become customary to view purposiveness in organisms as a bias added by the observer; the recent notion of teleonomy expresses well this as-if character of natural purposes. In recent developments in science, however, notions such as self-organization (or complex systems) and the autopoiesis viewpoint, have displaced emergence and circular self-production as central features of life. Contrary to an often superficial reading, Kant gives (...) a multi-faceted account of the living, and anticipates this modern reading of the organism, even introducing the term self-organization for the first time. Our re-reading of Kant in this light is strengthened by a group of philosophers of biology, with Hans Jonas as the central figure, who put back on center stage an organism-centered view of the living, an autonomous center of concern capable of providing an interior perspective. Thus, what is present in nuce in Kant, finds a convergent development from this current of philosophy of biology and the scientific ideas around autopoeisis, two independent but parallel developments culminating in the 1970s. Instead of viewing meaning or value as artifacts or illusions, both agree on a new understanding of a form of immanent teleology as truly biological features, inevitably intertwined with the self-establishment of an identity which is the living process. (shrink)

Cognitively-oriented theories have dominated the recent history of the study of emotion. However, critics of this perspective suggest the role of the body in the experience of emotion is largely ignored by cognitive theorists. As an alternative to the cognitive perspective, critics are increasingly pointing to William James’ theory, which emphasized somatic aspects of emotions. This emerging emphasis on the embodiment of emotions is shared by those in the field of AI attempting to model human emotions. Behavior-based agents in AI (...) are attempts to model the role the body might play in the experiencing of emotions. Progress in creating such behavior-based models that function in their environments has been slow, suggesting some potential problems with Jamesian alternatives to cognitive perspectives of emotions. Heidegger’s and Merleau-Ponty’s conceptions of embodiment are suggested as alternatives to James’ and as means for addressing the shortcomings of the cognitive perspective. (shrink)

Although William James wrote no philosophical treatise on aesthetics, he can be seen as an important source for pragmatist aesthetics. This paper reconstructs James's aesthetic views from his diverse writings that demonstrate a keen regard for the arts and for the central, pervasive importance of the aesthetic dimension of experience, a dimension he saw as closely linked to the rational and practical. Special attention is given to his path-blazing The Principles of Psychology which precedes James's explicit pragmatist stage but contains (...) all the most essential themes of pragmatist aesthetics that Dewey would later formulate with much greater detail and argumentation in Art as Experience . This paper elucidates James's treatment of these themes, argues for his influence on Dewey's aesthetics, and suggests how the Jamesian approach exemplifies a promising convergence of aesthetics with philosophy of mind. (shrink)

Richard Shusterman; Aesthetic Experience: From Analysis to Eros, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 2, 18 April 2005, Pages 217–229.

This chapter contains sections titled: Aesthetics Musical Syntax, Discrepancy and Activation Probability, Expectations, and Learning Dopamine, Discrepancy and the Prediction of Reward Musement and the Play of Ideas Conclusion.

A proposal for the biological grounding of intrinsic teleology and sense-making through the theory of autopoiesis is critically evaluated. Autopoiesis provides a systemic language for speaking about intrinsic teleology but its original formulation needs to be elaborated further in order to explain sense-making. This is done by introducing adaptivity, a many-layered property that allows organisms to regulate themselves with respect to their conditions of viability. Adaptivity leads to more articulated concepts of behaviour, agency, sense-construction, health, and temporality than those given (...) so far by autopoiesis and enaction. These and other implications for understanding the organismic generation of values are explored. (shrink)

The publication of this book is an event in the making. All over the world scientists, psychologists, and philosophers are waiting to read Antonio Damasio's new theory of the nature of consciousness and the construction of the self. A renowned and revered scientist and clinician, Damasio has spent decades following amnesiacs down hospital corridors, waiting for comatose patients to awaken, and devising ingenious research using PET scans to piece together the great puzzle of consciousness. In his bestselling Descartes' Error, Damasio (...) revealed the critical importance of emotion in the making of reason. Building on this foundation, he now shows how consciousness is created. Consciousness is the feeling of what happens-our mind noticing the body's reaction to the world and responding to that experience. Without our bodies there can be no consciousness, which is at heart a mechanism for survival that engages body, emotion, and mind in the glorious spiral of human life. A hymn to the possibilities of human existence, a magnificent work of ingenious science, a gorgeously written book, The Feeling of What Happens is already being hailed as a classic. (shrink)

The theory of autopoiesis is central to the enactive approach. Recent works emphasize that the theory of autopoiesis is a theory of sense-making in living systems, i.e. of how living systems produce and consume meaning. In this chapter I first illustrate (some aspects of) these recent works, and interpret their notion of sense-making as a bodily cognitive- emotional form of understanding. Then I turn to modern emotion science, and I illustrate its tendency to over-intellectualize our capacity to evaluate and understand. (...) I show that this overintellectualization goes hand in hand with the rejection of the idea that the body is a vehicle of meaning. I explain why I think that this over-intellectualization is problematic, and try to reconceptualize the notion of evaluation in emotion theory in a way that is consistent and continuous with the autopoietic notion of sense-making. (shrink)

All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view that such (...) claims are never warranted—does not merit serious attention. What is needed is an articulation of the various kinds of content of aesthetic judgements, one that will reveal what their claim to intersubjective validity amounts to and enable an assessment of what the proper limits of the claim might be. This clarification is what I attempt to provide. After some introductory definitions and classifications, the principal focus of the first part of the paper is descriptive aesthetic judgements, and one issue that figures large is the proper understanding of those judgements of this kind which are expressed in sentences that are intended to be understood metaphorically. A short bridge passage identifies an aesthetic judgement whose content is indicative of the content of evaluative aesthetic judgements of all kinds, and in particular evaluative aesthetic judgements about works of art, which the second part of the paper focuses on. Real illumination of these requires an identification of the aim of art (as such): I offer an account of this aim, which I defend against certain objections that it is liable to attract, and I use it to throw light not just on singular but also on comparative judgements of artistic value. I conclude with some remarks about purely aesthetic value and specifically artistic value and about similarities and differences between evaluative aesthetic judgements of works of art and evaluative aesthetic judgements of works of nature. (shrink)

Using Brehm's (1999) intensity of emotion paradigm, we investigated whether basic positive or negative affect operates like a motivational state. We focused on one of the most basic affects, the sensory affect experienced when eating food. Participants tasted a delicious chocolate truffle (Study 1) or some bitter chocolate (Study 2) and were exposed to either a weak, moderately strong, or a very strong reason for feeling an opposing-valence affect or to no reason. In line with the predictions, the affect that (...) participants reported in response to chocolate functioned like a motivational state as its intensity was a cubic function of the importance of the reason for feeling an opposing affect. We discussed the implications of these findings for the conceptualisation of affect and consider several applications for food advertising and consumer rating research. (shrink)

This research explores the role of emotions in goal-directed behaviour. A model is provided for an emotional goal system whereby appraisals of the consequences of achieving or not achieving a goal are hypothesised to elicit anticipatory emotions; the anticipatory emotions are expected, in turn, to contribute to volitions in the service of goal pursuit (namely, intentions, plans, and the decision to expend energy); goal-directed behaviours next arise in response to volitions and lead to goal attainment; and the latter then functions (...) as the basis for a new set of appraisals and accompanying goaloutcome emotions. The model was tested in a longitudinal study of the responses of 406 adults (243 women, 163 men) in The Netherlands. The context for the study was the regulation of one's bodyweight via exercising and dieting. (shrink)

The question has long confounded philosophers and scientists, and it is this so-called explanatory gap between biological life and consciousness that Evan ...

Cognitive systems research has predominantly been guided by the historical distinction between emotion and cognition, and has focused its efforts on modelling the “cognitive” aspects of behaviour. While this initially meant modelling only the control system of cognitive creatures, with the advent of “embodied” cognitive science this expanded to also modelling the interactions between the control system and the external environment. What did not seem to change with this embodiment revolution, however, was the attitude towards affect and emotion in cognitive (...) science. This paper argues that cognitive systems research is now beginning to integrate these aspects of natural cognitive systems into cognitive science proper, not in virtue of traditional “embodied cognitive science”, which focuses predominantly on the body’s gross morphology, but rather in virtue of research into the interoceptive, organismic basis of natural cognitive systems. (shrink)

The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

In this article, we propose some fundamental requirements for the appearance of adaptivity. We argue that a basic metabolic organization, taken in its minimal sense, may provide the conceptual framework for naturalizing the origin of teleology and normative functionality as it appears in living systems. However, adaptivity also requires the emergence of a regulatory subsystem, which implies a certain form of dynamic decoupling within a globally integrated, autonomous system. Thus, we analyze several forms of minimal adaptivity, including the special case (...) of motility. We go on to explain how an open-ended complexity growth of motility-based adaptive agency, namely, behavior, requires the appearance of the nervous system. Finally, we discuss some implications of these ideas for embodied robotics. (shrink)

This paper attempts to provide the basis for a broader naturalized account of agency. Naturalization is considered as the need for an ongoing and open-ended process of scientific inquiry driven by the continuous formulation of questions regarding a phenomenon. The naturalization of agency is focused around the interrelation of the fundamental notions of autonomy, functionality, intentionality and meaning. Certain naturalized frameworks of agency are critically considered in an attempt to bring together all the characteristic properties that constitute an autonomous agent, (...) as well as to indicate the shaping of these notions/properties during the development and the evolution of its agential capacity. Autonomy and interaction are proved to be key concepts in this endeavor. (shrink)

Aesthetic experience, as a cognitive activity is a fundamental part of the interaction process in which an agent attempts to interpret his/her environment in order to support the fundamental process of decision making. Proposing a four-level interactive model, we underline and indicate the functions that provide the operations of aesthetic experience and, by extension, of aesthetic judgment. Particularly in this paper, we suggest an integration of the fundamental Peircean semiotic parameters and their related levels of semiotic organization with the proposed (...) model. Our aim is to provide a further theoretical understanding with respect to the perception of aesthetics and to enrich our models regarding the functionality of aesthetic interpretation, using the theoretical interpretive richness provided by the semiotic perspective. (shrink)

Even though aesthetics and affordances are two important factors based on which designers provide effective ways of interaction through their artifacts, there is no study or theoretical model that relates these two aspects of design. We suggest a theoretical explanation that relates the underlying functionality of aesthetics, in particular, of interaction aesthetics and of affordances in the design process. Our claim is that interaction aesthetics are one among other factors that allow users to enhance the detection of action possibilities and (...) consequently, the detection of affordances. Our aim is first to discuss the role of interaction aesthetics in the design process, and second to suggest an explanation for their role in the detection of affordances when users interact with artifacts. (shrink)

In this chapter, I outline dynamic models of motivation and emotion. These turn out not to be autonomous subsystems, but, instead, are deeply integrated in the basic interactive dynamic character of living systems. Motivation is a crucial aspect of particular kinds of interactive systems -- systems for which representation is a sister aspect. Emotion is a special kind of partially reflective interaction process, and yields its own emergent motivational aspects. In addition, the overall model accounts for some of the crucial (...) properties of consciousness. (shrink)

Exploring emotions, in terms of their evolutionary origin; their basic neurobiological substratum, and their functional significance in autonomous agents, we propose a model of minimal functionality of emotions. Our aim is to provide a naturalized explanation – mostly based on an interactivist model of emergent representation and appraisal theory of emotions – concerning basic aesthetic emotions in the formation of aesthetic judgment. We suggest two processes the Cognitive Variables Subsystem (CVS) which is fundamental for the accomplishment of the function of (...) heuristic learning; and Aesthetic Appraisal Subsystem (AAS) which primarily affects the elicitation of aesthetic emotional meanings. These two subsystems (CVS and AAS) are organizationally connected and affect the action readiness of the autonomous agent. More specifically, we consider the emotional outcome of these two subsystems as a functional indication that strengthens or weakens the anticipation for the resolution of the dynamic uncertainty that emerges in the particular interaction. (shrink)

This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to fulfill an ill-defined goal. Creativity is considered as the result of an emergence of organizational complexity in (...) each cognitive system participating in the design process, while it is trying to purposefully incorporate new constraints in its meaning structures. The meanings generated in each system are identified as the contingent and anticipatory content of its representations, and where self-organization is the dominant process in which they are continuously involved. Furthermore, Peircean semiotic processes appear to provide the functionality needed by the emergent representational structures in order to complete the cycle of a creative design process. Creativity originates in the abductive stage of the semiotic process, the fallible nature of which is maintained in the proposed framework by the fact that the respective emergent representations can be misfits. The nodal points of the framework are identified and analyzed showing that a cognitive system needs the whole interactive anticipatory cycle in order to engage in a creative design process. (shrink)

According to the traditional nomological-deductive methodology of physics and chemistry [Hempel and Oppenheim, 1948], explaining a phenomenon means subsuming it under a law. Logic becomes then the glue of explanation and laws the primary explainers. Thus, the scientific study of a system would consist in the development of a logically sound model of it, once the relevant observables (state variables) are identified and the general laws governing their change (expressed as differential equations, state transition rules, maximization/minimization principles,. . . ) (...) are well determined, together with the initial or boundary conditions for each particular case. Often this also involves making a set of assumptions about the elementary components of the system (e.g., their structural and dynamic properties) and modes of local interaction. In this framework, predictability becomes the main goal and that is why research is carried out through the construction of accurate mathematical models. Thus, physics and chemistry have made most progress so far by focusing on systems that, either due to their intrinsic properties or to the conditions in which they are investigated, allow for very strong simplifying assumptions, under which, nevertheless, those highly idealized models of reality are deemed to be in good correspondence with reality itself. Despite the enormous success that this methodology has had, the study of living and cognitive phenomena had to follow a very different road, because these phenomena are produced by systems whose underlying material structure and organization do not permit such crude approximations. Seen from the perspective of physics or chemistry, biological and cognitive systems are made of an enormous number of parts or elements interacting in non-linear and selective ways, which makes very difficult their tractability through mathematical models. In addition, many of those interacting elements are hierarchically organized, in a way that the “macroscopic” (observable) parts behave according to rules that cannot be, in practice, derived from simple principles at the level of their “microscopic” dynamics.. (shrink)