Scientific Knowledge and the Aesthetic Appreciation of Nature

2002 ◽  
Vol 60 (1) ◽  
pp. 37-48 ◽  
Author(s):  
Patricia Matthews
Author(s):  
Allen Carlson

In the Western world, aesthetic appreciation of nature and its philosophical investigation came to fruition in the eighteenth century. During that time, aestheticians made nature the ideal object of aesthetic experience and analysed that experience in terms of disinterestedness, thereby laying the groundwork for understanding the appreciation of nature in terms of the sublime and the picturesque. This philosophical tradition reached its zenith with Kant, while popular aesthetic appreciation of nature continued primarily in terms of the picturesque. In the late twentieth century, renewed interest in the aesthetics of nature has produced various positions designed to avoid assimilating appreciation of nature with traditional models for aesthetic appreciation of art. Three are especially noteworthy. The first holds that the appreciation of nature is not in fact aesthetic; the second rejects the traditional analysis of aesthetic experience as disinterested, arguing instead that the aesthetic appreciation of nature involves engagement with nature; the third attempts to maintain the traditional analysis, while distinguishing aesthetic appreciation of nature by dependence on scientific knowledge. These positions have a number of ramifications. In freeing aesthetic appreciation of nature from artistic models, they pave the way for a general environmental aesthetics comparable to other areas of philosophy, such as environmental ethics. Moreover, the significance given to scientific knowledge in the third position both explains the aesthetic appreciation associated with environmentalism and provides aesthetic appreciation of nature with a degree of objectivity that may make aesthetic considerations more effectual in environmental assessment.


2019 ◽  
Author(s):  
Martin Skov ◽  
Marcos Nadal

Alexis Makin argued in a recent paper that Empirical Aesthetics is unable to properly advance our understanding of the mechanisms involved in aesthetic experience. The reason for this predicament, he claims, is an inability of current research methods to capture the psychological properties that truly characterize aesthetic experience, especially the unique perceptual and emotional processes involved in the aesthetic experience. We show that Makin’s argument rests on assumptions that are at odds with scientific knowledge of the neurobiological mechanisms involved in the appreciation of sensory objects. We thereafter show that such mechanisms are rooted in shared neurobiological systems, and operate according to computational principles that are common to many domains of experience. This casts doubt on the notion that aesthetic experiences constitute a distinct kind of experiences that can be defined according to a set of special and unique qualities. Finally, we discuss how attributing this specialness to “aesthetic” experiences leads Empirical Aesthetics astray from mainstream psychology and neuroscience.


2006 ◽  
Vol 36 (2) ◽  
pp. 165-186 ◽  
Author(s):  
Glenn Parsons

Much recent discussion in the aesthetics of nature has focused on Scientific cognitivism, the view that in order to engage in a deep and appropriate aesthetic appreciation of nature, one must possess certain kinds of scientific knowledge. The most pressing difficulty faced by this view is an apparent tension between the very notion of aesthetic appreciation and the nature of scientific knowledge. In this essay, I describe this difficulty, trace some of its roots and argue that attempts to dismiss it fail. I then develop a response to the problem, drawing on the notion of the theory-ladenness of observation. I conclude by considering the relationship between this response and one common approach to the problem, the appeal to expressive qualities in nature.


Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.


2021 ◽  
pp. 107-111
Author(s):  
Marcos Nadal ◽  
Zaira Cattaneo

Does V5, a brain region involved in the perception of movement, contribute to the aesthetic appreciation of artworks that depict movement? In the study under discussion, the authors asked participants to view abstract and representational artworks depicting motion. While they judged the sense of motion conveyed by the artworks and how much they liked them, the authors delivered transcranial magnetic stimulation (TMS) over V5. They found that TMS over V5 reduced the sense of motion participants perceived and reduced how much participants liked the abstract paintings. These results show, first, that V5 is involved in extracting implied motion information even when the object whose motion is implied is not real. Second, they show that V5 is involved in extracting implied motion information even in the absence of any object, as in the abstract paintings. Finally, they show that activity in V5 plays a causal role in the appreciation of abstract art.


Symmetry ◽  
2020 ◽  
Vol 12 (4) ◽  
pp. 577
Author(s):  
Svantje T. Kähler ◽  
Thomas Jacobsen ◽  
Stina Klein ◽  
Mike Wendt

Visual attention can be adjusted to task requirements. We asked participants to switch between judging the symmetry of vertically presented three-letter strings and identifying the central stimulus (i.e., Eriksen task) to investigate anticipatory adjustment of attention. Our experiments provide evidence for anticipatory adjustment of visual attention, depending on the cued task (i.e., focusing and defocusing of attention after the Eriksen task cue and after the symmetry task cue, respectively). Although, symmetry judgments were, overall, considerably slower than the identification of the central letter, the effects of response congruency between tasks were comparable in the two tasks, which suggested strong response priming from concurrent symmetry judgment in Eriksen task trials. Symmetry judgment performance was best for homogeneous letter strings (e.g., HHH), worst for strings that were symmetrical and inhomogeneous (e.g., XHX), and intermediate for asymmetrical strings (e.g., HHX). The difficulty of categorizing symmetrical-inhomogeneous items markedly deviated from the aesthetic ratings of the stimuli, displaying a pronounced preference for symmetrical strings, but only little difference among the symmetrical items, and might be accounted by conflict with response priming based on inhomogeneity detection. Although our study provides little evidence for an effect of aesthetic appreciation in simple symmetry judgments, it demonstrates the strong role of contextual dependencies.


i-Perception ◽  
2019 ◽  
Vol 10 (3) ◽  
pp. 204166951985604 ◽  
Author(s):  
Ronald Hübner ◽  
Martin G. Fillinger

It is widely assumed that the aesthetic appreciation of a picture depends, among others, on how well the picture’s composition is perceptually balanced, where “perceptual balance” is often defined analogous to mechanics. To what extent this metaphor holds for different picture types, however, is still open. Therefore, in this study, we examined the relationship between balance, liking, and some objective measures with pictures from an aesthetic sensitivity test. These stimuli could be divided into single-element, multiple-element, and dynamic-pattern pictures. The results show that “balance” is interpreted differently, depending on the stimulus type. Whereas “mechanical” balance was applied to assess single-element pictures, the balance of multiple-element and dynamic-pattern pictures was rated more in the sense of gravitational stability. Only for the multiple-element stimuli, there was a positive relation between balance/stability and liking. Together, our findings show that there are different types of balance, and that their relation with liking depends on the picture type.


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