Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, (...) I argue that if conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, (...) aesthetic epistemology, aesthetic concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of (...) attention paid to aesthetic adjectives by philosophical aestheticians, they have paid little attention to contemporary linguistic theories of adjectives. We take our work to be a first step in remedying these lacunae. In this paper, we present four experiments that examine one aspect of how aesthetic adjectives ordinarily function: the context-sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians’ contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment might turn out to be different from what they had in mind. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical (...) aesthetics as public philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.

In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and a (...) “broad” approach of experimental philosophy, I will then make a distinction between topics in aesthetics pertaining to perceptual and cognitive processes, and traditional issues involved in the analysis of general and culturally-laden concepts. The narrow program of experimental philosophy, focused on the investigation of folk intuitions, is particularly effective only when two general conditions are met: the use of hypothetical scenarios (testing of thought experiments) and the heuristic role of folk intuitions in drawing philosophically relevant conclusions. I will argue that, when aesthetics is concerned, these requirements are not easily met. These difficulties notwithstanding, I will support a pluralistic view where aesthetics is revealed as an instructive example of how experimental approaches and traditional “armchair” philosophy integrate, and enrich each other. (shrink)

In the mid-seventeenth century a movement of self-styled experimental philosophers emerged in Britain. Originating in the discipline of natural philosophy amongst Fellows of the fledgling Royal Society of London, it soon spread to medicine and by the eighteenth century had impacted moral and political philosophy and even aesthetics. Early modern experimental philosophers gave epistemic priority to observation and experiment over theorising and speculation. They decried the use of hypotheses and system-building without recourse to experiment and, in some (...) quarters, developed a philosophy of experiment. The movement spread to the Netherlands and France in the early eighteenth century and later impacted Germany. Its important role in early modern philosophy was subsequently eclipsed by the widespread adoption of the Kantian historiography of modern philosophy, which emphasised the distinction between rationalism and empiricism and had no place for the historical phenomenon of early modern experimental philosophy. The re-emergence of interest in early modern experimental philosophy roughly coincided with the development of contemporary x-phi and there are some important similarities between the two. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while (...) perceiving expression is sometimes about reading minds, it is more squarely about perceiving solicitations or closures for action. Second, I frame expressions as a subcategory of Gibson’s affordances. This includes those showing up through context, in turn suggesting Kuleshov-like scenarios are not mere perceptual tricks. Third, I maintain that situations—with or without other human beings—have action-motivating expressive qualities or what Gestalt theorists called physiognomic characters, following Werner. These likewise emerge through ecological relations, and are very much like affordances and in the world as much as them. With resemblance theories, my account agrees that we perceive expression in the world. However, it indicates a broad range of cases in which expression shows up as consequences of overall situations that solicit or close actions, as opposed to mere resemblance between entities and human expressions. (shrink)

The goal of this short paper is to show that esthetic adjectives—exemplified by “beautiful” and “elegant”—do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.

The aesthetic skeptic maintains that it is futile to dispute about taste. One and the same work of art might appear beautiful to one person but repellent to another, and we have no reason to prefer one or another of these conflicting verdicts. Hume argues that the skeptic, however, moves too quickly. The crucial question is whether qualified critics will agree on their evaluations. And the skeptic fails to provide sufficient evidence that their verdicts will diverge. We have reason to (...) expect that a consensus will emerge over time, moreover, since aesthetic values are grounded on universal principles of human nature. Skeptics might doubt that there is a natural basis for a standard of taste, but this proposal is supported by recent work in experimental aesthetics and cognitive science. (shrink)

I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty tends (...) to cause a transformational state of mind that is more valuable than mere pleasure, but that leads us to falsely represent beautiful entities as being sentient and, in turn, as having intrinsic moral standing. To this extent, beauty is not, then, a source of intrinsic moral standing; it’s a source of a more important anthropocentric value than has hitherto been acknowledged. (shrink)

We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having (...) shown that the results do not support the main premise of the argument, we discuss the consequences for Aesthetic Realism and address possible objections to our study. (shrink)

The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of aesthetic qualities, (...) I examine whether there are really beautiful and ugly persons in the world. I will criticize the way analytic philosophers judge people and art from an aesthetic perspective. If there are no aesthetic qualities in the world, nobody can judge someone beautiful or ugly without oppression. Aesthetic judgement is exercise of power. (shrink)

Walter Benjamin’s texts on Baudelaire put forward a threefold analogy, surprising at first glance, between the experience of the crowd, typical of modern metropolises, mechanized work and games of chance. While exploring gambling and the gambler in Benjamin’s analysis, this article explores the inner ambiguity of the concept of repetition: firstly conceived as belonging to the «time of hell» of the ever-new, it can also be understood as a gateway for understanding the processes of experimentation, which are crucial to modern (...) and contemporary aesthetic experiences. In this sense, urban space can also be conceived as a room for play, vulnerable to and enriched by chance and playful mechanisms encompassing aesthetic and political dimensions. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the (...) experimental results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...) or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas (...) Gage effect”. However, normativity extends beyond morality. In particular, it is unknown whether changes in aesthetic value have a similar impact on identity judgments. We investigate whether works of art would be analogously seen as essentially aesthetically valuable. We ran four studies (N=1264) to explore whether aesthetic considerations have a similar influence on judgments of the identity of artworks. We presented the participants with stories describing either a painting or a musical work which undergoes changes and becomes either more or less aesthetically valuable. Overall, we found only mixed evidence for the Phineas Gage effect in relation to the aesthetic value of artworks. Other factors, such as moral value, seem to have a bigger impact on judgments of persistence. (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented (...) with mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked (...) whether they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the aesthetic (...) realism/antirealism debate. However, this argument would need to proceed very differently and would only support a much more modest version of aesthetic antirealism. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...) the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments. (shrink)

For many contemporary artists, failure has been an instrument of experimentation and self-expression, of investigation into existential questions and manifestation of utopian tensions. In this paper, I will discuss how some of the well-known strategies of experimental and avant-garde artistic practices with failure involve risky actions, challenging or impossible attempts, loss of control, and compulsive repetition of inconclusive acts. In those experimentations, the ideal model of an effective and successful action performance (in which a goal is defined through a (...) clear intention, a plan and a well-controlled execution) is willfully sabotaged in its stages. In this regard, a distinction between failure and mistake will be highlighted: if failure could be traced back to the tradition of heroic or tragic defeat in front of adverse odds, mistake on the contrary means doing something wrong that one is expected to control. While failure negatively reflects our tension toward autonomy, the focus on mistakes is the expression of rigidity and heightened risk aversion in contexts where maximal efficiency and self-optimization are expected. This paper will argue that equating the category of failure with that of mistake is not faithful to the motives underlying those artistic traditions. In this respect, artistic experimentations in the “aesthetic of failure” can also be viewed as a critical response toward a general mindset defined by the anxiety of control and obsessive mistake avoidance that seems typical of our current times. (shrink)

Wittgenstein’s experiments on rhythm (1912-13) were based on Charles Myers’s 1911 written protocols for laboratory exercises. The experiments provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. Years before the Tractatus, Wittgenstein already got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in the possibilities of aesthetic conversation, in what we actually do (...) when we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility. These initial insights were bound to recede into the background for a while by the mounting demands of the Tractatus framework, only to fully bloom in Wittgenstein’s later work. (shrink)

The topic of the human face is addressed from a biocultural perspective, focusing on the empirical investigation of how the face is represented, perceived, and evaluated in artistic portraits and self-portraits from the XVth to the XVIIth century. To do so, the crucial role played by the human face in social cognition is introduced, starting from development, showing that neonatal facial imitation and face-to-face dyadic interactions provide the grounding elements for the construction of intersubjective bonds. The neuroscience of face perception (...) is concisely presented and discussed, together with the psychophysics of face perception and gaze exploration, introducing the notions of the left visual field advantage and the left gaze bias. The results of experiments on the perception and the emotional and aesthetic rating of artistic portraits and self-portraits are reported, showing that despite participants’ inability to tell self-portraits and portraits apart, greater emotional, communicative-social, and aesthetic ratings were attributed to self-portraits. It is concluded that neuroscience and experimental aesthetics can contribute to better understand the human face, hence to better understand ourselves. (shrink)

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor (...) of uniqueness, and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the folk as (...) necessary for an object to be considered art, which suggests that the folk concept of art might be a cluster concept. (shrink)

An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty we (...) witness in imagining certain propositions is indeed due to claim type (evaluative v. non-evaluative) or whether it is much rather driven by mundane features of content. Our findings suggest that claim type plays but a marginal role, and that there might hence not be much of a ‘puzzle’ to be solved. (shrink)

The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should answer whether (...) the results of the empirical research contribute to the debates of philosophical aesthetics of music. Each of the three chapters of the dissertation deals with one particular problem in philosophy of music: meaning in music, value of music, and the relationship between music and the emotions. For each particular philosophical problem discussed in these chapters, it is demonstrated that the experimental results provide interesting insights for philosophy of music. It is concluded in the dissertation that philosophers can benefit from examining experimental studies, not only regarding the particular aesthetic theories, but also in regard to the methodological consideration, since the dissertation shows that this kind of interdisciplinary approach uncovers methods useful to philosophers, not commonly available to the armchair philosophical approach. (shrink)

Drawing on research in narrative theory and literary aesthetics, text and discourse processing, phenomenology and the experimental cognitive sciences, this paper outlines an embodied theory of presence in the reading of literary narrative. Contrary to common assumptions, it is argued that there is no straightforward relation between the degree of detail in spatial description on one hand, and the vividness of spatial imagery and presence on the other. It is also argued that presence arises from a first-person, enactive (...) process of sensorimotor simulation/ resonance, rather than from mere visualizing from the perspective of a passive, third-person observer. In sections 1 to 3, an inter-theoretical argument is presented, proposing that presence may be effectively cued by explicit references to object -directed bodily movement. In section 4, an attempt is made at explaining which ways of embedding such references in the narrative may be particularly productive at eliciting presence. (shrink)

Although personal relevance is key to sustaining an audience’s interest in any given narrative, it has received little systematic attention in scholarship to date. Across centuries and media, adaptations have been used extensively to bring temporally or geographically distant narratives “closer” to the recipient under the assumption that their impact will increase. In this review article, we review experimental and other empirical evidence on narrative processing in order to unravel which types of personal relevance are more likely to be (...) impactful than others, which types of impact (e.g. aesthetic, therapeutic, persuasive) they have been found to generate, and where their power may become excessive or outright detrimental to reader experience. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

Many times, what we say proves to be wrong. It might turn out that what we took to be a comforting remark was, in fact, making things worse. Or that a joke was inappropriate. Or that yelling out loud was rude. More importantly for this paper, there are plenty of cases in which what we said turns out to be false: we spoke without paying attention, we were misinformed or tricked, or we made a reasoning mistake. -/- A particular instance (...) of this latter phenomenon is when someone changes their perspective and doesn't find their previous assertions true anymore. For example, imagine that you used to like licorice as a child, and that you went around saying things like "Licorice is tasty." But, growing up, you find licorice too strong and quite boring; your tastes have changed. While the taste of licorice itself has not changed, you are not going around anymore uttering "Licorice is tasty." In fact, in certain cases, you might even think that what you said in your childhood was wrong - at least in light of your present preferences. -/- Sometimes we "take back" the assertions we made when we realize they are no longer true. Such speech acts of taking back can be performed in various ways: more formally, as effected in a court of law or when an official speaks to the press, or more informally in our day-by-day interactions. These acts of taking back are known as retraction. Retraction is usually achieved by employing certain linguistic markers ('I was wrong', 'I was mistaken', 'I retract', "Scratch that' etc.) that signal that the retractor takes their previous speech act to be faulty in a certain way. -/- This phenomenon has formed the basis for a popular argument used by relativists about a variety of natural language expressions (predicates of taste, epistemic modals, moral and aesthetic claims etc.) in support of their view. Recently, several considerations (mostly from contextualists about the same expressions), both from the armchair and based on empirical studies, have been offered to undercut the support retraction was thought to provide for relativism. In this paper, I consider and re-evaluate that support in light of both types of considerations, showing that neither of them decisively undermines it. However, to survive the contextualist counterattack, the relativist needs to pay a price: that is, she will be forced to make some concessions or rethink certain claims. I show what I think those concessions should be and what needs to be rethought (and how). The upshot is that, while the support retraction offers relativism is not as strong as initially believed, appeal to retraction remains a legitimate move in the debate. In section 1, I introduce the views in the debate and clarify the phenomenon of retraction and its dialectical role. Armchair data are investigated in section 2, proper experimental studies in section 3, while section 4 summarizes and concludes. (shrink)

Why are moral actions beautiful, when indeed they are? This paper assesses the view, found most notably in Schiller, that moral actions are beautiful just when they present the appearance of freedom by appearing to be the result of internal harmony (the Schillerian Internal Harmony Thesis). I argue that while this thesis can accommodate some of the beauty involved in contrasts of the ‘continent’ and the ‘fully’ virtuous, it cannot account for all of the beauty in such contrasts, and so (...) needs to be weakened considerably (to the Internal Harmony Thesis). To account for the remaining beauty that cannot be fully accommodated even by this revised thesis, as well as the beauty contained in contrasts that involve agents who experience internal conflict as a result of being sensitive to different sources of moral value to an appropriate extent, a number of further theses need to be posited: namely, that the beauty of some moral actions is to be accommodated in terms of internal disharmony (the Internal Disharmony Thesis), and in terms of a felt harmony between the appreciator of the action and the executor of the action (the Affective Harmony Thesis). As such, in contrast to Schiller, I suggest that we need to take a pluralist and context-sensitive approach to accommodating the beauty of moral actions. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

Chapter 3 of the ongoing publication "Artificial Aesthetics" Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering how AI will affect your professional area in general and your work and career. Our (...) book offers intellectual tools to help us better see the future of creative fields. These tools come from philosophy of art, experimental psychology, media theory, digital culture studies and data science. The book is the first to combine these different perspectives together. -/- We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months. (shrink)

Some assertions give rise to the acquaintance inference: the inference that the speaker is acquainted with some individual. Discussion of the acquaintance inference has previously focused on assertions about aesthetic matters and personal tastes (e.g. 'The cake is tasty'), but it also arises with reports about how things seem (e.g. 'Tom seems like he's cooking'). 'Seem'-reports give rise to puzzling acquaintance behavior, with no analogue in the previously-discussed domains. In particular, these reports call for a distinction between the specific acquaintance (...) inference (that the speaker is acquainted with a specific individual) and the general acquaintance inference (that the speaker is acquainted with something or other of relevance). We frame a novel empirical generalization -- the specific with stage-level generalization -- that systematizes the observed behavior, in terms of the semantics of the embedded 'like'-clause. We present supporting experimental work, and explain why the generalization makes sense given the evidential role of 'seem'-reports. Finally, we discuss the relevance of this result for extant proposals about the semantics of 'seem'-reports. More modestly, it fills a gap in previous theories by identifying which reports get which of two possible interpretations; more radically, it suggests a revision of the kind of explanation that should be given for the acquaintance behavior in question. (shrink)

Chapter 1 of the ongoing online publication "Artificial Aesthetics: A Critical Guide to AI, Media and Design", Lev Manovich and Emanuele Arielli -/- Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering (...) how AI will affect your professional area in general and your work and career. Our book offers intellectual tools to help us better see the future of creative fields. These tools come from philosophy of art, experimental psychology, media theory, digital culture studies and data science. The book is the first to combine these different perspectives together. -/- We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months. (shrink)

It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made of imagination in everyday life. Artistic creation offers a rich model for understanding the sort of social imagination that is (...) essential to moral deliberation. The " moral " of the arts is that everyday moral decisions can be as richly consummated as artistic productions. The distance is narrowed between this ideal and actual deliberations to the degree that a culture focuses beyond sedimented moral criteria to education of aesthetic virtues of sensitivity, perceptiveness, discernment, creativity, expressiveness, courage, foresight, communicativeness, and experimental intelligence. (Note: The key concepts and main line of argument in this article are further developed in ch. 7 of John Dewey and Moral Imagination: Pragmatism in Ethics (Indiana University Press, 2003).). (shrink)

How do we view, understand and appreciate a complex and challenging work of visual art such as Leon Mostovoy's Transfigure and how, in our encounter with it, does beauty matter? Transfigure Project--a 2013 book, film and photographic installation that is now also an interactive website--is "a project of corporal self-expression, presented as an experimental, visual feast" by which 'transfigure' means "to transform into something more beautiful or elevated." Photographs of fifty nude trans-identified figures can be playfully arranged in numerous (...) combinations; a woman's head can appear over a post-op torso over a pelvis with penis. The result, according to the artist, is "A celebration of bodies that transcend the gender binary" and shatter stereotypical notions of beauty. How does the meaning of Transfigure challenge and subvert traditional theories in aesthetics? (shrink)

When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...) in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it (...) is to critique communications media while retaining their communal potential. Audiovisual work by Varela discussed in this essay include Línea 3 (2010-11) and Materia oscura (Dark Matter, 2016). (shrink)

Sensibility, in any of its myriad realms – moral, physical, aesthetic, medical and so on – seems to be a paramount case of a higher-level, intentional property, not a basic property. Diderot famously made the bold and attributive move of postulating that matter itself senses, or that sensibility (perhaps better translated ‘sensitivity’ here) is a general or universal property of matter, even if he at times took a step back from this claim and called it a “supposition.” Crucially, sensibility is (...) here playing the role of a ‘booster’: it enables materialism to provide a full and rich account of the phenomena of conscious, sentient life, contrary to what its opponents hold: for if matter can sense, and sensibility is not a merely mechanical process, then the loftiest cognitive plateaus are accessible to materialist analysis, or at least belong to one and the same world as the rest of matter. This was noted by the astute anti-materialist critic, the Abbé Lelarge de Lignac, who, in his 1751 Lettres à un Amériquain, criticized Buffon for “granting to the body [la machine, a common term for the body at the time] a quality which is essential to minds, namely sensibility.” This view, here attributed to Buffon and definitely held by Diderot, was comparatively rare. If we look for the sources of this concept, the most notable ones are physiological and medical treatises by prominent figures such as Robert Whytt, Albrecht von Haller and the Montpellier vitalist Théophile de Bordeu. We then have, or so I shall try to sketch out, an intellectual landscape in which new – or newly articulated – properties such as irritability and sensibility are presented either as an experimental property of muscle fibers, that can be understood mechanistically (Hallerian irritability, as studied recently by Hubert Steinke and Dominique Boury) or a property of matter itself (whether specifically living matter as in Bordeu and his fellow montpelliérains Ménuret and Fouquet, or matter in general, as in Diderot). I am by no means convinced that it is one and the same ‘sensibility’ that is at issue in debates between these figures (as when Bordeu attacks Haller’s distinction between irritability and sensibility and claims that ‘his own’ property of sensibility is both more correct and more fundamental in organic beings), but I am interested in mapping out a topography of the problem of sensibility as property of matter or as vital force in mid-eighteenth-century debates – not an exhaustive cartography of all possible positions or theories, but an attempt to understand the ‘triangulation’ of three views: a vitalist view in which sensibility is fundamental, matching up with a conception of the organism as the sum of parts conceived as little lives (Bordeu et al.); a mechanist, or ‘enhanced mechanist’ view in which one can work upwards, step by step from the basic property of irritability to the higher-level property of sensibility (Haller); and, more eclectic, a materialist view which seeks to combine the mechanistic, componential rigour and explanatory power of the Hallerian approach, with the monistic and metaphysically explosive potential of the vitalist approach (Diderot). It is my hope that examining Diderot in the context of this triangulated topography of sensibility as property sheds light on his famous proclamation regarding sensibility as a universal property of matter. (shrink)

What is the nature of the concept BEAUTY? Does it differ fundamentally from nearby concepts such as PRETTINESS? It is argued that BEAUTY, but not PRETTINESS, is a dual-character concept. Across a number of contexts, it is proposed that BEAUTY has a descriptive sense that is characterised by, inter alia, having intrinsically pleasing appearances; and a normative sense associated with deeply-held values. This account is supported across two, pre-registered, studies (N=500), and by drawing on analysis of corpus data. It is (...) suggested that this can help to explain why beauty, unlike prettiness, is thought to be deep in both the sense of being important, and in the sense of being less closely tied to sensory surfaces. (shrink)

Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their (...) work to their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

My initial work, with collaborators Stephen Morris, Thomas Nadelhoffer, and Jason Turner (2005, 2006), on surveying folk intuitions about free will and moral responsibility was designed primarily to test a common claim in the philosophical debates: that ordinary people see an obvious conflict between determinism and both free will and moral responsibility, and hence, the burden is on compatibilists to motivate their theory in a way that explains away or overcomes this intuitive support for incompatibilism. The evidence, if any, offered (...) by philosophers to support the claim that incompatibilism is intuitive has consisted of reports of their own intuitions or informal polls of their students. We were skeptical about the reliability of such evidence, so we used the methodology--”now associated with the label 'experimental philosophy'--”of conducting formal surveys on non-philosophers. Our participants read a scenario that describes a deterministic universe and were then asked to judge whether agents in those scenarios act of their own free will and are morally responsible for their actions. Using three different scenarios with hundreds of participants, we consistently found that the majority (2/3 to 4/5) responded that agents in deterministic universes do act of their own free will and are morally responsible. That is, we found that most ordinary folk do not seem to find incompatibilism intuitive or obviously correct. Our results have been challenged in various ways, philosophical and methodological. For instance, Shaun Nichols (2004, this volume) and Nichols and Joshua Knobe (unpublished) offer some experimental evidence suggesting that, in certain conditions, most people express incompatibilist and libertarian intuitions. I will respond to this work in the following section. I agree that people express conflicting intuitions about free will (after all, we consistently found a minority of participants expressing incompatibilist. (shrink)

Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...) Die Überlegung, wer in welcher Situation warum was bevorzugt, führt zur Forschungsfrage: »Was ist der elementare Mechanismus für eine ästhetische Erfahrung?« In der Literatur zur empirischen Ästhetik finden sich vier wesentliche Theorie-Gruppen: (1.) Es wird eine Präferenz für einfach zu verarbeitende Stimuli behauptet und z.B. mit der Processing Fluency begründet. (2.) Andere Ansätze erklären eine maximale Stimulation des Beobachters durch komplexe Objekte zum Ideal, was auch die ästhetische Erfahrung maximieren soll. (3.) Eine dritte Gruppe vermeidet die Probleme der ersten beiden, indem eine mittlere Komplexität als Präferenz behauptet wird. (4.) Und schließlich gibt es Ansätze, die auf eine integrierende Theorie letztlich verzichten und einzelne Phänomene bzw. Effekte katalogisieren. Eine Liste ungelöster Probleme formuliert die Minimal-Anforderungen an eine integrierende Theorie. Hiermit wird geprüft, ob bzw. inwieweit die Integrative Ästhetik von Schwarzfischer (2008 und 2014) jene Probleme lösen kann. Dieser Ansatz schlägt spezifische Re-Codierungs-Prozesse als basalen Mechanismus jeder ästhetischen Erfahrung vor. Hierzu wird ein Prozess-Modell entwickelt, welches die Integrative Ästhetik überprüfbar macht. Bei der Modellbildung werden manche Konzepte der Integrativen Ästhetik erweitert und andere präzisiert. Auch die Anwendungsmöglichkeiten werden durch das Modell vielfältiger, da es nicht nur als Erklärungsmodell, sondern zudem als Gestaltungsmodell einsetzbar ist. Insgesamt zeigt die Überprüfung der Integrativen Ästhetik und des Modells, dass die Gütekriterien in einem vielversprechenden Maß erfüllt werden. Die grundsätzliche Quantifizierbarkeit wird aufgezeigt sowie die Relevanz und die Anwendbarkeit für das Design nachgewiesen. Die Forschungsfrage kann somit als hinreichend beantwortet gelten: »Der elementare Mechanismus für eine ästhetische Erfahrung scheint ein Re-Codierungs-Prozess zu sein (der auf der Nutzung von In­varianzen basiert), welcher extensionale Daten zu intensionalen Gestalten transformiert, wobei eine Ressourcen-Entlastung stattfindet und der Gültigkeitsbereich der Codierung erweitert wird (was nach Jean Piaget als Dezentrierung bezeichnet wird) – was jeweils durch eine ‚Beobachtung zweiter Ordnung‘ festgestellt wird.« -/- Teil II »Transdisziplinäre Ästhetik im Dialog« -/- Kapitel II.A »Profane und heroische Beobachtungs-Experimente: Kunst-Ästhetik als methodisches Artefakt.« -/- Es reicht nicht, eine Liste mit vorgeblich ‚schönen Dingen‘ zu erstellen, um ‚das Schöne‘ zu verstehen. Piaget & Garcia (1989) unterscheiden drei Stufen in jedem Erkenntnis-Prozess: 1. isolierte Fakten, die unabhängig von einander analysiert werden; 2. konkrete Transformationen, durch welche diese Fakten mit einander verbunden sind; 3. eine Struktur, die alle denkbaren Fälle konstruierbar macht. Sie nannten diese drei Stufen ‚intra‘, ‚inter‘ und ‚trans‘. Dies kann auf das ‚höhere Erkenntnisvermögen‘ angewandt werden wie auf das ‚niedere‘. Wissenschaftlichkeit setzt nach Popper die Falsifizierbarkeit einer Theorie voraus – und damit Prognosefähigkeit. Prognosen müssen über den Bereich der bereits bekannten Fälle hinausgehen, und finden sich folglich primär in der Piaget-Phase ‚trans‘. Diese ist davon gekennzeichnet, dass es über die Gegenstände hinausgeht (‚trans-objekt‘). Zu häufig werden Artefakte nur beschrieben (‚intra-objekt‘) oder einzelne, zufällig bekannte Transformationen von Material in Artefakte bzw. von Artefakt in Verständnis aufgezählt (‚inter-objekt‘). Erst eine ‚Integrative Ästhetik‘ jenseits von zufälligen Semantiken, jenseits von sozialen Exklusions-Rhetoriken der Künstler und der ‚Leisure-Class-Eliten‘ (nach Veblen) und jenseits der Hierarchisierung von Wahrnehmungs-Modi kann den Anspruch einlösen (‚trans-objekt‘). Daraus folgen u.a. separierbare Semantiken spezifischem Maßstabs, die sich überhaupt erst dann z.B. als ‚konventionelle Kunst-Auffassung‘ beobachten lassen. Zentrierungen auf solche Semantiken können demnach „als Kunst missverstanden werden“ – obwohl sie keineswegs das allgemeine Prinzip repräsentieren, sondern stets nur Spezial­fall bleiben. -/- Kapitel II.B »Das Gehirn als Hypothesenmaschine – Ästhetische Prozesse als Selbst-Test im Beobachter-System.« -/- Die historische Trennung zwischen Techne, Poiesis und Aisthesis scheint nach der „konstruktivistischen Wende“ obsolet geworden zu sein. Jede Beobachtung kann als Handlung betrachtet werden und setzt adaptive Aspekte schon voraus. Jedoch fehlte bislang eine tragfähige konstruktivistische Ästhetik, deren Gültigkeitsbereich hinreichend groß ist: So ist die Beschränkung auf Kunst ebenso unnötig wie jene auf Kommunikation in sozialen Systemen (also auf „Kunst-Diskurse“) oder auf eine Produktions-, Werk- bzw. Rezeptions-Ästhetik. Die definitorische Auflösung des Kunst-Begriffes (z.B. bei Gernot Böhme) löst diese Schwierigkeiten nicht. Im Wesentlichen bleibt die resultierende phänomenologische Ästhetik eine Rezeptions-Ästhetik. Ähnlich begrenzt bleibt der Anwendungsbereich der Informations-Ästhetik mit kybernetischen Wurzeln. Auch die Einbettung in eine evolutionäre Ästhetik oder Neuroästhetik scheint problematisch. Daher muss eine „Integrative Ästhetik“ sehr unterschiedliche Sichtweisen in sich vereinigen. Inzwischen klassisch zu nennende kybernetische, systemtheoretische oder informations-ästhetische Ansätze verwenden meist die Logik einer Bottom-Up-Verarbeitung (Input-Processing-Output), wie sie auch die kognitive Psychologie der zweiten Hälfte des 20. Jahrhunderts dominierte. Dass laut Schlicht et al. (2013: S.475) selbst im visuellen Kortex nur ca. 5% der neuronalen Verknüpfungen bottom-up verschaltet sind (und der „Rest” von 95% top-down oder lateral arbeitet), stellt auch die empirische Ästhetik vor Probleme. Dieser Beitrag stellt jene Integrative Ästhetik vor, welche diese Antworten auf diese Fragen zu geben vermag – und den genannten Beschränkungen nicht unterliegt. Der elementare Prozess einer ästhetischen Erfahrung besteht hier in einer Re-Codierung von extensionalen Daten zu intensionalen Codierungen. Durch die sparsamere Codierung stellt dies eine erhebliche neuronale Entlastung dar und erhöht zudem beträchtlich den Gültigkeitsbereich des Codierten. Vom Beobachter-System wird dies subjektiv als Dezentrierung (nach Piaget) positiv erlebt. Zentral ist, dass es nun mit einem einheitlichen methodischen Rahmen möglich ist, entweder bottom-up die Wahrnehmung zu analysieren oder top-down die subjektive Motivation (z.B. die erlebte Autonomie oder die erlebte Entlastung) des Akteurs zu thematisieren. Die Richtung der Prozesse wird umkehrbar. Zudem wird die konstruktivistische Wahrnehmungs-Handlung zu einer Art von Selbst-Test des Wahrnehmungs-Systems: „Funktioniere ich sensorisch und kognitiv überhaupt? Funktioniere ich korrekt, also konsistent? Und, funktioniere ich effizient?“ -/- Kapitel II.C »Beobachtende Systeme – Dezentrierende Gestalt-Integration als Basis einer Ästhetik des Alltags.« -/- An der ästhetischen Erfahrung irritiert traditionell, dass der Effekt bekannt ist, nicht aber die Ursachen und der funktionale Mechanismus. Dies leistete Mystifikationen Vorschub, was zu diversen metaphysischen Kunst-Ästhetiken führte: Der Künstler als Schamane oder Magier. Dieser Beitrag möchte dagegen einen systemsemiotischen Ansatz für eine empirische Ästhetik vorstellen. Die aktive Rolle des Beobachters im Wirkungszusammenhang soll den Blinden Fleck erhellen, aufgrund dessen sich das Phantom eines passiven Rezipienten und „quasi-aktiver“ ästhetischer Objekte so hartnäckig halten konnte. Ausgehend von gestalttheoretischen Überlegungen wird Gestalt als implizite, algorithmische Codierung begriffen. Neuere empirische Ergebnisse der „Neuro-Ökonomie“ postulieren einen Effekt der „kortikalen Entlastung“ (bei der Forschung nach der Wirkung von Marken). Der hier vertretene Ansatz verknüpft nun beide Aspekte und glaubt, daraus eine konsistente Theorie für die empirische Ästhetik des Alltags entwickeln zu können. Es muss jedoch ein weiterer Aspekt hinzu genommen werden, den Piaget „Dezentrierung“ nennt. Ästhetische Erfahrung wird dann definierbar als das Erlebnis eines Umcodierungs-Prozesses – oder genauer: als das Erlebnis einer dezentrierenden Gestalt-Integration durch das beobachtende System. Sowohl beobachtende Systeme als auch Gestalt-Integrationen sind in unserem Ansatz als multiple zu denken. Eine semiotische Differenzierung ist nun entscheidend: Die herkömmliche Informations-Ästhetik thematisierte nur die syntaktischen Aspekte des Stimulus, ohne den Beobachter in seiner aktiven Rolle zu begreifen. Gestalt-Integrationen samt deren dezentrierender Wirkung sind jedoch auch in semantischer und pragmatischer Hinsicht zu finden. Diese werden im Beitrag dargelegt. Denn erst so kann die Vielschichtigkeit ästhetischer Erfahrungen erklärt werden, wo z.B. syntaktische und pragmatische Aspekte konkurrieren können. Auch vordergründig destruktive Akte und Artefakte sind dann als Gestalt-Integrationen anderer Dimensionen oder differierender Bezugssysteme begreifbar. (Dies streift etwa auch Fragen der Ressourcen-Allokation.) Zudem muss die Kontingenz von Beobachtungs-Maßstäben, Wahrnehmungs-Modi, Struktur-Determinanten (des beobachtenden Systems) und kultur-semiotischen Prägungen mit in Betracht gezogen werden. Erst hierdurch wird der Möglichkeitsraum potenzieller Gestalt-Integrationen (der eigentlich aus einem präsentationalen und einem repräsentationalen Raum besteht) prinzipiell beschreibbar. Wenn auch die Probleme bzw. Grenzen der praktischen Durchführbarkeit entsprechender Analysen nicht unterschlagen werden sollen: Die Möglichkeiten entsprechen gut den Erfordernissen zur ästhetischen Analyse des menschlichen Alltages – schließen die Lebenswelten von nicht-anthropozentrischen Seinsformen aber wohl methodisch aus. Dieser Beitrag möchte ich primär eine empirische Ästhetik zur Diskussion stellen, die mir als Rahmen für die weitere Forschung sehr leistungsfähig erscheint. Und doch ist nichts weniger als ein theoriebildender Ansatz das Vorhaben. Eine der Konsequenzen aus diesem Ansatz ist die These, dass es sich bei Kants Diktum vom „interesselosen Wohlgefallen“ zwar für das Individuum um ein Apriori handelt, bei der Gattung Mensch jedoch evolutionär um ein Aposteriori. (shrink)

It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, psycholinguistic (...) theory, and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

This article starts an engagement on the aesthetics of experiments and offers an account for analysing how aesthetics features in the design, evaluation and reception of experiments. I identify two dimensions of aesthetic evaluation of experiments: design and significance. When it comes to design, a number of qualities, such as simplicity, economy and aptness, are analysed and illustrated with the famous Meselson-Stahl experiment. Beautiful experiments are also regarded to make significant discoveries, but I argue against a narrow construal (...) of experimental aims. By drawing on the plurality of goals experimenters have and diversity of aesthetic responses, I argue that experiments are aesthetically appreciated both when they discover and when they produce disruptive results. (shrink)