Questions about Aesthetic Experience

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 71-75
Author(s):  
Paisley Livingston
Keyword(s):  
Aesthetic Experience ◽  
Self Awareness ◽  
Third Culture ◽  
Aesthetic Experiences ◽  
The Third

These brief comments raise some questions about Murray Smith’s remarks, in his new volume Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, on the nature of aesthetic experience. My questions concern how we might best draw a viable distinction between aesthetic and non-aesthetic experiences and focus in particular on possible links between self-awareness and aesthetic experiences. In sum, I agree with Smith in holding that we should not give up on the notion of aesthetic experience, even though aestheticians continue to disagree regarding even the most basic questions pertaining to its nature.

scholarly journals Film, Art, and the Third Culture

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 111-136
Author(s):  
Murray Smith
Keyword(s):  
Aesthetic Experience ◽  
Niche Construction ◽  
Extended Mind ◽  
Third Culture ◽  
Ordinary Experience ◽  
Embodied Simulation ◽  
The Third ◽  
Naturalistic Methodology ◽  
Similarity And Difference ◽  
The Relationship

In this article, I reply to the eleven commentaries on Film, Art, and the Third Culture gathered here, organizing my responses thematically and seeking to find points of similarity and difference among the commentators as well as with my own perspective. I address arguments on embodied simulation; the analogy between films and dreams; aesthetic experience and the “expansion” of ordinary experience; the relationships between culture and cognition and between fiction and emotion; theories of the extended mind and of niche construction; the place of neuroscience in aesthetics; and the relationship between naturalism and normativity. I conclude with some reflections on naturalistic methodology.

Naturalizing Aesthetic Experience

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 50-59 ◽  
Author(s):  
Vittorio Gallese
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Third Culture ◽  
Embodied Simulation ◽  
New Model ◽  
The Third ◽  
The World ◽  
The Aesthetic ◽  
The Brain

The naturalization of the aesthetic experience of film and art can benefit from the contribution of neuroscience because we can investigate empirically the concepts we use when referring to it and what they are made of at the level of description of the brain-body. The neuroscientific subpersonal level of description is necessary but not sufficient, unless it is coupled with a full appreciation of the tight relationship that the brain entertains with the body and the world. In this article, I will discuss aspects of Murray Smith’s proposal on the aesthetic experience of art and film as presented in his Film, Art, and the Third Culture against the background of a new model of perception and imagination: embodied simulation.

Space Effort: The Third Culture

Science ◽  
1963 ◽  
Vol 141 (3578) ◽  
pp. 390-390
Author(s):  
T. Page
Keyword(s):  
Third Culture ◽  
The Third

Reflections on Narrative of Contemporary Western Landscape Space

2012 ◽  
Vol 446-449 ◽  
pp. 975-978
Author(s):  
Tian Yi Qiu ◽  
Song Fu Liu
Keyword(s):  
Aesthetic Experience ◽  
Landscape Design ◽  
Design Methods ◽  
Main Body ◽  
Self Awareness ◽  
Human Beings ◽  
Spatial Order ◽  
Narrative Space ◽  
Space Design ◽  
Western Landscape

The current landscape space design ignored the existence of self-awareness and demonstration of Human Beings, meanwhile it also make human beings being dominated constantly. This thesis combined narrative, space, plot and other theories which related with the theory of landscape design explored the design methods which make the landscape views more appealing and space-create strategies which take narrative as spatial clues from the angel of main body in creation and started by aesthetic experience and behaviors of Human Beings, it also reflect harmonious spatial order between Views and Human Beings.

Ukraine and the Challenges of Post-Totalitarian Transit (1990-2019)

2021 ◽  
Author(s):  
Volodymyr Holovko ◽  
◽  
Larysa Yakubova ◽  
Keyword(s):  
World War I ◽  
Essential Feature ◽  
State Building ◽  
Self Awareness ◽  
World War ◽  
Successful Completion ◽  
Wide Audience ◽  
The Third ◽  
The World ◽  
History Of

The key problems of nation- and state-building are revealed in the concept of the chronotope of the Ukrainian “long twentieth century,” which is a hybrid projection of the “long nineteenth century.” An essential feature of this stage in the history of Ukraine and Ukrainians is the realization of the intentions of socioeconomic, ethnocultural and political emancipation: in fact, the end of the Ukrainian revolution, which began in the context of World War I and the destruction of the colonial system. The third book tells about the contradictions of post-Soviet transit. The three modern revolutions, the development of “oligarchic republics,” the subjectivization of Ukraine in the world through self-awareness of the European choice are visible manifestations of the final stage of the century-old Ukrainian revolution and anti-colonial liberation war. The essential transformations of the Ukrainian project are understood in the broad optics of post-totalitarian transit, the successful completion of which now rules for the national idea of Ukraine. For a wide audience.

Naturalized Aesthetics and Emotion Theory

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 76-85 ◽  
Author(s):  
Rainer Reisenzein
Keyword(s):  
Empirical Evidence ◽  
Case Studies ◽  
Integrated System ◽  
Third Culture ◽  
Extended Version ◽  
Basic Emotions ◽  
The Third ◽  
Psychological Theories ◽  
Concrete Application ◽  
Emotion Theory

Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emotions are outputs of a single, integrated system.

scholarly journals Putting the Culture into Bioculturalism

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 101-110
Author(s):  
Dominic Topp
Keyword(s):  
Cultural Knowledge ◽  
Cultural Dimensions ◽  
Third Culture ◽  
The Third

In Chapter 6 of Film, Art, and the Third Culture, Murray Smith argues for a biocultural account of the emotions, which treats them as an interaction between universal and cultural dimensions. He goes on to test this approach in relation to the representation of emotions in films by considering an example from the tradition of modernist filmmaking. This article suggests that, while Smith’s case is broadly convincing, there are several ways in which it could be presented more forcefully. In particular, his discussion of the challenge of modernism to a biocultural account could be strengthened by emphasizing rather than downplaying the role that various types of cultural knowledge play in our interaction with modernist works.

The Third Culture: Beyond the Scientific Revolution

1996 ◽  
Vol 64 (3) ◽  
pp. 348-349 ◽  
Author(s):  
John Brockman ◽  
Alwyn Scott
Keyword(s):  
Scientific Revolution ◽  
Third Culture ◽  
The Third
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