Results for 'neuroaesthetics'

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  1. Is there an Aesthetic Brain? A brief Essay on the Neuroaesthetic Quantification of beauty.Paulo Alexandre E. Castro - 2021 - In Joaquim Braga & Simone Guidi (eds.), Quantifying Bodies and Health. Interdisciplinary Approaches. Coimbra: Instituto de Estudos Filosóficos. pp. 127-138.
    It is possible today to determine, with some precision (according to the most recent studies in neuroscience and evolutionary psychology), the areas of the brain and the neural networks involved when an individual contemplates art, when feeling pleasure, or when judging about aesthetic experience. However, many questions remain open. First, the philosophical question about the subjective nature of this kind of judgments. Then, what happens in the mind (or should it be said, in the brain?) of the beholder when contemplating (...)
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  2. Naturalist trends in current aesthetics.Roberta Dreon & Carlos Vara Sánchez - 2022 - Studi di Estetica 22.
    In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically (...)
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  3. The science of art: A neurological theory of aesthetic experience.Vilayanur Ramachandran & William Hirstein - 1999 - Journal of Consciousness Studies 6 (6-7):15-41.
    We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...)
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  4. Mental Imagery, Emotion, and Literary Task Sets Clues Towards a Literary Neuroart.Federico Langer - 2012 - Journal of Consciousness Studies 19 (7-8):168-215.
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  5. Aesthetics and Predictive Processing: Grounds and Prospects of a Fruitful Encounter.Jacopo Frascaroli, Helmut Leder, Elvira Brattico & Sander Van de Cruys - 2024 - Philosophical Transactions of the Royal Society B 379 (20220410).
    In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows (...)
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  6. Scientizing the humanities.Barbara Herrnstein Smith - 2016 - Common Knowledge 22 (3):353-372.
    Advocates of literary Darwinism, cognitive cultural studies, neuroaesthetics, digital humanities, and other such hybrid fields now seek explicitly to make the aims and methods of one or another humanities discipline approximate more closely the aims and methods of science, and at their most visionary, they urge as well the overall integration of the humanities and natural sciences. This essay indicates some major considerations—historical, conceptual, and pragmatic—that may be useful for assessing these efforts and predicting their future. Arguments promoting integration (...)
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  7. (1 other version)Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    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 (...)
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  8. Order and Change in Art: Towards an Active Inference Account of Aesthetic Experience.Sander Van de Cruys, Jacopo Frascaroli & Karl Friston - 2024 - Philosophical Transactions of the Royal Society B 379 (20220411).
    How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we (...)
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  9. Morality is in the eye of the beholder: the neurocognitive basis of the “anomalous-is-bad” stereotype.Clifford Workman, Stacey Humphries, Franziska Hartung, Geoffrey K. Aguirre, Joseph W. Kable & Anjan Chatterjee - 2021 - Annals of the New York Academy of Sciences 999 (999):1-15.
    Are people with flawed faces regarded as having flawed moral characters? An “anomalous-is-bad” stereotype is hypothesized to facilitate negative biases against people with facial anomalies (e.g., scars), but whether and how these biases affect behavior and brain functioning remain open questions. We examined responses to anomalous faces in the brain (using a visual oddball paradigm), behavior (in economic games), and attitudes. At the level of the brain, the amygdala demonstrated a specific neural response to anomalous faces—sensitive to disgust and a (...)
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  10. Up the nose of the beholder? Aesthetic perception in olfaction as a decision-making process.Ann-Sophie Barwich - 2017 - New Ideas in Psychology 47:157-165.
    Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I argue that the (...)
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  11. The aesthetic stance - on the conditions and consequences of becoming a beholder.Maria Brincker - 2014 - In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Dordrecht: Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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  12. Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience.Ingar Brinck - 2018 - Cognitive Processing 2 (19):201-213.
    A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...)
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  13. Memories of Art.William Hirstein - 2013 - Behavioral and Brain Sciences 36 (2):146 - 147.
    [This is a response to a target article in BBS]. Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that (...)
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  14. Coevolutionary semantics of technological civilization genesis and evolutionary risk.V. T. Cheshko & O. M. Kuz - 2016 - Anthropological Measurements of Philosophical Research 10:43-55.
    Purpose of the present work is to attempt to give a glance at the problem of existential and anthropological risk caused by the contemporary man-made civilization from the perspective of comparison and confrontation of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap present between the represented social reality and its representation in perception of works of art (...)
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  15. An Interdisciplinary Perspective Towards Explaining the Visual Aesthetic Experience: The Case of Emotion.Ryan Slaby - 2022 - Itinera 23 (Aesthetics, Technique and Emotio):371- 390.
    This paper discusses the empirical findings concerning the visual aesthetic experience in a neurological context. Accordingly, the aim of this paper is to shed light on the common ground across neuroscience, psychology, and philosophy to pave new roads for empirical research. Cognitive models posit that the brain employs neural networks mediating bottom-up and top- down processes, and in effect, engenders emotion and reward throughout the visual aesthetic experience. Likewise, empathy and its corresponding recruitment of bodily processes may facilitate the understanding (...)
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  16. Ways of seeing films.Paulo Alexandre E. Castro - 2021 - Coimbra, Portugal: IEF.
    Contents Preface - ix -/- I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 -/- II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies (...)
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  17. Review of: "Strange Tools: Art and Human Nature" by Alva Noe. [REVIEW]Lauren R. Alpert - 2016 - American Society for Aesthetics Graduate E-Journal 8 (1):1-3.
    Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.
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