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  1. Phenomenology of Perception.Maurice Merleau-Ponty - 1962 - New York: Routledge. Edited by Donald A. Landes.
    Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...)
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  • Philosophy of Art: A Contemporary Introduction.Noël Carroll - 1999 - New York: Routledge.
    _Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...)
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  • Towards the naturalization of agency based on an interactivist account of autonomy.Argyris Arnellos, Thomas Spyrtou & Ioannis Darzentas - 2010 - New Ideas in Psychology 28 (3):296-311.
    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, (...)
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  • The Functional Role of Emotions in Aesthetic Judgement.Ioannis Xenakis, Argyris Arnellos & John Darzentas - 2012 - New Ideas in Psychology 30 (2).
    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 (...)
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  • The relation between interaction aesthetics and affordances.Ioannis Xenakis & Argyris Arnellos - 2013 - Design Studies 34 (1).
    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 (...)
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  • (2 other versions)Critique of Pure Reason.I. Kant - 1787/1998 - Philosophy 59 (230):555-557.
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  • Aesthetics and Psychobiology.D. E. Berlyne - 1973 - Journal of Aesthetics and Art Criticism 31 (4):553-553.
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  • (1 other version)Adaptivity: From metabolism to behavior.Xabier Barandiaran & Alvaro Moreno - 2008 - Adaptive Behavior 16 (5):325-344.
    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 (...)
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  • Form and meaning in art.Per Aage Brandt - 2006 - In Mark Turner (ed.), The Artful Mind: Cognitive Science and the Riddle of Human Creativity. Oup Usa.
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  • Emotional processing in anterior cingulate and medial prefrontal cortex.Amit Etkin, Tobias Egner & Raffael Kalisch - 2011 - Trends in Cognitive Sciences 15 (2):85-93.
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  • Steps to a "Properly Embodied" Cognitive Science.Mog Stapleton - 2013 - Cognitive Systems Research 22 (June):1-11.
    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 (...)
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  • Natural sources of normativity.Wayne Christensen - 2012 - Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 43 (1):104-112.
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  • Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford: Oxford University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  • Influence of aesthetic perception on visual event-related potentials.Marina de Tommaso, Carla Pecoraro, Michele Sardaro, Claudia Serpino, Giulio Lancioni & Paolo Livrea - 2008 - Consciousness and Cognition 17 (3):933-945.
    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 (...)
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  • (1 other version)Action-oriented Perception.Bence Nanay - 2010 - European Journal of Philosophy 20 (3):430-446.
    Abstract: When I throw a ball at you, do you see it as catch-able? Do we perceive objects as edible, climbable or Q-able in general? One could argue that it is just a manner of speaking to say so: we do not really see an object as edible, we only infer on the basis of its other properties that it is. I argue that whether or not an object is edible or climbable is indeed represented perceptually: we see objects as (...)
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  • Aesthetic measure.George David Birkhoff - 1933 - Cambridge, Mass.,: Harvard University Press.
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  • Diotima's children: German aesthetic rationalism from Leibniz to Lessing.Frederick C. Beiser - 2009 - New York: Oxford University Press.
    Diotima's Children is a re-examination of the rationalist tradition of aesthetics which prevailed in Germany in the late seventeenth and eighteenth century.
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  • Disjunctivism and perceptual psychology.Tyler Burge - 2005 - Philosophical Topics 33 (1):1-78.
    This essay is a long one. It is not meant to be read in a single sitting. Its structure is as follows. In section I, I explicate perceptual anti-individualism. Section II centers on the two aspects of the representational content of perceptual states. Sections III and IV concern the nature of the empirical psychology of vision, and its bearing on the individuation of perceptual states. Section V shows how what is known from empirical psychology undermines disjunctivism and hence certain further (...)
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  • Contemplating art: essays in aesthetics.Jerrold Levinson - 2006 - New York: Oxford University Press.
    Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.
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  • Approach to aesthetics: collected papers on philosophical aesthetics.Frank Sibley (ed.) - 2001 - New York: Oxford University Press.
    A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between attributive and predicative (...)
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  • Making sense of sense-making: Reflections on enactive and extended mind theories.Evan Thompson & Mog Stapleton - 2009 - Topoi 28 (1):23-30.
    This paper explores some of the differences between the enactive approach in cognitive science and the extended mind thesis. We review the key enactive concepts of autonomy and sense-making . We then focus on the following issues: (1) the debate between internalism and externalism about cognitive processes; (2) the relation between cognition and emotion; (3) the status of the body; and (4) the difference between ‘incorporation’ and mere ‘extension’ in the body-mind-environment relation.
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  • Perceptions of perceptual symbols.Lawrence Barsalou - 1999 - Behavioral and Brain Sciences 22 (4):637-660.
    Various defenses of amodal symbol systems are addressed, including amodal symbols in sensory-motor areas, the causal theory of concepts, supramodal concepts, latent semantic analysis, and abstracted amodal symbols. Various aspects of perceptual symbol systems are clarified and developed, including perception, features, simulators, category structure, frames, analogy, introspection, situated action, and development. Particular attention is given to abstract concepts, language, and computational mechanisms.
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  • Life after Kant: Natural purposes and the autopoietic foundations of biological individuality. [REVIEW]Andreas Weber & Francisco J. Varela - 2002 - Phenomenology and the Cognitive Sciences 1 (2):97-125.
    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 (...)
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  • Aesthetic and nonaesthetic.Frank Sibley - 1965 - Philosophical Review 74 (2):135-159.
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  • Aesthetic Concepts.Frank Sibley - 1959 - Philosophical Review 68 (4):421-450.
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  • Aesthetic experience and aesthetic object.Roman Ingarden - 1960 - Philosophy and Phenomenological Research 21 (3):289-313.
    The purpose here is to give a thorough phenomenological account of the aesthetic experience. The difference between cognitive perception of a real object and the aesthetic experience of an esthetic object is discussed at length. Elements and phases of an esthetic experience are delineated; illustrations of a preliminary emotion of esthetic experience are given, All of which suggest a fundamental change of attitude. From normal perceiving to esthetic perceiving there is a change from categorical structures to qualitative harmony structures, Producing (...)
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  • Aesthetic experience regained.Monroe C. Beardsley - 1969 - Journal of Aesthetics and Art Criticism 28 (1):3-11.
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  • Information and representation in autonomous agents.Mark H. Bickhard - 2000 - Cognitive Systems Research 1 (2):65-75.
    Information and representation are thought to be intimately related. Representation, in fact, is commonly considered to be a special kind of information. It must be a _special_ kind, because otherwise all of the myriad instances of informational relationships in the universe would be representational -- some restrictions must be placed on informational relationships in order to refine the vast set into those that are truly representational. I will argue that information in this general sense is important to genuine agents, but (...)
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  • An outline of a theory of affordances.Anthony Chemero - 2003 - Ecological Psychology 15 (2):181-195.
    The primary difference between direct and inferential theories of perception concerns the location of perceptual content, the meaning of our perceptions. In inferential theories of perception, these meanings arise inside animals, based upon their interactions with the physical environment. Light, for example, bumps into receptors causing a sensation. The animal (or its brain) performs inferences on the sensation, yielding a meaningful perception. In direct theories of perception, on the other hand, meaning is in the environment, and perception does not depend (...)
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  • (1 other version)Art as Experience.John Dewey - 1934 - New Yorke: Perigee Books.
    IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...)
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  • (1 other version)Art as experience.John Dewey - 2005 - Penguin Books.
    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.
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  • (1 other version)Action‐oriented Perception.Bence Nanay - 2012 - European Journal of Philosophy 20 (3):430-446.
    Abstract:When I throw a ball at you, do you see it as catch‐able? Do we perceive objects as edible, climbable or Q‐able in general? One could argue that it is just a manner of speaking to say so: we do not reallyseean object as edible, we only infer on the basis of its other properties that it is. I argue that whether or not an object is edible or climbable is indeed represented perceptually: weseeobjects as edible, and do not just (...)
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  • Phenomenology of Perception.Maurice Merleau-Ponty - 1945/1962 - New York: Routledge. Edited by Donald A. Landes.
    Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.
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  • Philosophical aesthetics: An overview.Jerrold Levinson - 2003 - In The Oxford handbook of aesthetics. New York: Oxford University Press. pp. 3--24.
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  • Aesthetic objects and works of art.Dorothy Walsh - 1974 - Journal of Aesthetics and Art Criticism 33 (1):7-12.
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  • Attention and the aesthetic object.Richard W. Lind - 1980 - Journal of Aesthetics and Art Criticism 39 (2):131-142.
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  • (1 other version)Interactivism: A manifesto.Mark H. Bickhard - manuscript
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  • What's basic about basic emotions?Andrew Ortony & Terence J. Turner - 1990 - Psychological Review 97 (3):315-331.
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  • (1 other version)Interactivism: Introduction to the special issue.Mark H. Bickhard - 2009 - Synthese 166 (3):449-451.
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  • The aesthetic point of view.Monroe C. Beardsley - 1970 - Metaphilosophy 1 (1):39–58.
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  • Emotion and aesthetic value.Jesse Prinz - 2014
    Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These two topics are (...)
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  • Phenomenology of Perception.Aron Gurwitsch, M. Merleau-Ponty & Colin Smith - 1964 - Philosophical Review 73 (3):417.
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  • The enactive approach: Theoretical sketches from cell to society.Tom Froese & Ezequiel A. Di Paolo - 2011 - Pragmatics and Cognition 19 (1):1-36.
    There is a small but growing community of researchers spanning a spectrum of disciplines which are united in rejecting the still dominant computationalist paradigm in favor of the enactive approach. The framework of this approach is centered on a core set of ideas, such as autonomy, sense-making, emergence, embodiment, and experience. These concepts are finding novel applications in a diverse range of areas. One hot topic has been the establishment of an enactive approach to social interaction. The main purpose of (...)
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  • (1 other version)What makes an experience aesthetic?Michael H. Mitias - 1982 - Journal of Aesthetics and Art Criticism 41 (2):157-169.
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  • Aesthetic experience and human evolution.Ellen Dissanayake - 1982 - Journal of Aesthetics and Art Criticism 41 (2):145-155.
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  • Representational content in humans and machines.Mark H. Bickhard - 1993 - Journal of Experimental and Theoretical Artificial Intelligence 5:285-33.
    This article focuses on the problem of representational content. Accounting for representational content is the central issue in contemporary naturalism: it is the major remaining task facing a naturalistic conception of the world. Representational content is also the central barrier to contemporary cognitive science and artificial intelligence: it is not possible to understand representation in animals nor to construct machines with genuine representation given current (lack of) understanding of what representation is. An elaborated critique is offered to current approaches to (...)
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  • (3 other versions)Aesthetic Properties.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79:191-227.
    Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...)
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  • (3 other versions)Aesthetic Properties.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79:191-227.
    [Derek Matravers] Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in (...)
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  • Music, Art, and Metaphysics.Stephen Davies - 1992 - Journal of Aesthetic Education 26 (2):110.
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  • (1 other version)What Makes an Experience Aesthetic?Michael H. Mitias - 1991 - Tijdschrift Voor Filosofie 53 (1):170-170.
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