Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

In current philosophy of mind, there is lively debate over whether emotions, moods, and other affects can extend to comprise elements beyond one’s organismic boundaries. At the same time, there has been growing interest in the nature and significance of so-called existential feelings, which, as the term suggests, are feelings of one’s overall being in the world. In this article, I bring these two strands of investigation together to ask: Can the material underpinnings of existential feelings extend beyond one’s skull (...) and skin? To begin, I introduce and adopt a componential-systemic view of extended affectivity. In doing so, I specify the vehicle externalist criteria for extension employed in my analysis. I then define what existential feelings are and pinpoint several key issues in their potential extension. More specifically, I identify sensorimotor ‘know-how’ as a possibly extending component of existential feeling and posit it as the fulcrum of my argument. Finally, I move on to consider the extension of existential feeling via sensory substitution, especially through so-called Tactile Visual Sensory Substitution (TVSS) devices. Informed by both philosophical and empirical studies, I argue that, under certain conditions, (a) the agent’s implicit sensorimotor processing and a TVSS device can become coupled into a new systemic whole, which in turn (b) reconfigures the material underpinnings of the agent’s pre-intentional world-experience. This, I conclude, counts as a cogent case for extended existential feeling. (shrink)

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely (...) solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use existing artworks, memory aids, and music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. (shrink)