Art History, Natural History and the Aesthetic Interpretation of Nature

2020 ◽  
Vol 29 (5) ◽  
pp. 537-556
Author(s):  
David T. Schwartz

This paper examines Allen Carlson's influential view that knowledge from natural science offers the best (and perhaps only) framework for aesthetically appreciating nature for what it is in itself. Carlson argues that knowledge from the natural sciences can play a role analogous to the role of art-historical knowledge in our experience of art by supplying categories for properly 'calibrating' one's sensory experience and rendering more informed aesthetic judgments. Yet, while art history indeed functions this way, Carlson's formulation leaves out a second (and often more important) role played by art-historical knowledge over the last century - namely, providing the context needed for interpretations of meaning. This paper explores whether natural science can also inform our aesthetic experience of nature in this second sense. I argue that a robust sense of meaning from our aesthetic experience of nature is indeed made possible by coupling our aesthetic experience of animals with knowledge from the natural science of animal ethology. By extending the scope of Carlson's analogy to include interpretations of meaning, my argument shows that the cognitive, scientific model can accommodate a wider range of aesthetic engagement with nature than previously recognised.

2020 ◽  
pp. 43-102
Author(s):  
Ana Hedberg Olenina

Chapter 2 explores scholarly theories that accounted for the role of kinesthetic sensations of pronunciation in the aesthetic experience of the poetic form. The Russian Formalists described the articulatory properties of various poetic styles as an objective, impersonal formal structure. They aimed to establish whether this structure takes shape during the process of verse composition and whether it impacts the subsequent oral renditions of the poem by the author and other readers. In historicizing the Formalists’ conceptions of the performative, embodied aspect of poetry, my analysis centers on the Petrograd Institute of the Living Word (Institut Zhivogo Slova) and the Laboratory for the Study of Artistic Speech under the auspices of the Institute of Art History (Kabinet Izucheniiа Khudizhestvennoi Rechi pri Institute Istorii Iskusstv) between 1919 and 1930. Their endeavor to register poetic rhythms and intonations closely resembled the methods of experimental phonetics used by the European and American phoneticians. My analysis points to numerous common sources shared by the Russian and Western authors—notably, the publications coming out from Jean-Pierre Rousselot’s laboratory of experimental phonetics. The final section of the chapter unravels the concept of “formal emotions,” proposed by the Russian Formalists, as they attempted to distance themselves from the simplistic biographic interpretations of affects encoded in literature and considered the psychomotor properties of verse from the standpoint of genre and style.


Author(s):  
Bart Vandenabeele

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.


2021 ◽  
pp. 003329412110021
Author(s):  
Sizhe Liu ◽  
Wei Zhang ◽  
Xianyou He ◽  
Xiaoxiang Tang ◽  
Shuxian Lai ◽  
...  

There is evidence that greater aesthetic experience can be linked to artworks when their corresponding meanings can be successfully inferred and understood. Modern cultural-expo architecture can be considered a form of artistic creation and design, and the corresponding design philosophy may be derived from representational objects or abstract social meanings. The present study investigates whether cultural-expo architecture with an easy-to-understand architectural appearance design is perceived as more beautiful and how architectural photographs and different types of descriptions of architectural appearance designs interact and produce higher aesthetic evaluations. The results showed an obvious aesthetic preference for cultural-expo architecture with an easy-to-understand architectural appearance design (Experiment 1). Moreover, we found that the aesthetic rating score of architectural photographs accompanied by an abstract description was significantly higher than that of those accompanied by a representational description only under the difficult-to-understand design condition (Experiment 2). The results indicated that people preferred cultural-expo architecture with an easy-to-understand architectural appearance design due to a greater understanding of the design, providing further evidence that abstract descriptions can provide supplementary information and explanation to enhance the sense of beauty of abstract cultural-expo architecture.


Children with Asperger syndrome still need to be adjusted, in regulating their emotion, to their enjoyment in an activity that will be their emotional allocation. Art is able to improve their self-ability, to strengthen their self-confidence, and also to re-shape lack of knowledge about their own identity. This is because activity of art becomes a collection of inspiration, the aspect of imagination that is closely related to the aesthetic experience. This was a qualitative research as a study intended to understand the phenomenon of something that is experienced by the subject of research. For example: behaviour, perception, motivation, and action in holistic way and described in form of words and language, in a specific-natural context and by utilizing various methods. The research findings show that ability of emotional regulation is the ability of the subject in receiving and understanding a command, and then in minimizing tantrum, so that the subject is able to achieve a treatment therapy; including the subject's ability to identify and draw an object or other objects around them, to recognize some painting tools and to answer questions orally or in writing through the image media. The therapy can be packaged through art education based on painting activity which is the advantage of an area itself. Schools present learning programs that also support character education and the creative potential of the children, so that they can live independently later.


Author(s):  
Cailah Jackson

THIS BOOK HAS uncovered the aesthetic variety and documentary richness of the Islamic arts of the book of the late medieval Lands of Rūm and produced new ways of understanding this material in its proper cultural and intellectual contexts. It has done so by considering the manuscripts as ‘whole’, complex objects. This approach has entailed looking closely at the codicological and visual properties of the manuscripts themselves, reading their inscriptions and analysing this material within a framework that accounts for patronage beyond dynastic confines – a facet that is sometimes overlooked in the wider scholarly field of Islamic art history. The manuscripts discussed here show that some of Rūm’s cities (particularly Konya) were home to dynamic artistic communities that consisted of local and émigré craftsmen, including converts to Islam and, possibly, Christians. This material also reveals that patrons were often drawn from the political classes, but were, generally speaking, otherwise not well-known from historical sources. In some cases, patrons’ affiliations and intellectual interests challenge simplistic or unambiguous conceptions of the ‘frontier’ and the role of ‘Turkishness’ in late medieval Rūm....


Author(s):  
Alex Rosenberg

Each of the sciences, the physical, biological, social and behavioural, have emerged from philosophy in a process that began in the time of Euclid and Plato. These sciences have left a legacy to philosophy of problems that they have been unable to deal with, either as nascent or as mature disciplines. Some of these problems are common to all sciences, some restricted to one of the four general divisions mentioned above, and some of these philosophical problems bear on only one or another of the special sciences. If the natural sciences have been of concern to philosophers longer than the social sciences, this is simply because the former are older disciplines. It is only in the last century that the social sciences have emerged as distinct subjects in their currently recognizable state. Some of the problems in the philosophy of social science are older than these disciplines, in part because these problems have their origins in nineteenth-century philosophy of history. Of course the full flowering of the philosophy of science dates from the emergence of the logical positivists in the 1920s. Although the logical positivists’ philosophy of science has often been accused of being satisfied with a one-sided diet of physics, in fact their interest in the social sciences was at least as great as their interest in physical science. Indeed, as the pre-eminent arena for the application of prescriptions drawn from the study of physics, social science always held a place of special importance for philosophers of science. Even those who reject the role of prescription from the philosophy of physics, cannot deny the relevance of epistemology and metaphysics for the social sciences. Scientific change may be the result of many factors, only some of them cognitive. However, scientific advance is driven by the interaction of data and theory. Data controls the theories we adopt and the direction in which we refine them. Theory directs and constrains both the sort of experiments that are done to collect data and the apparatus with which they are undertaken: research design is driven by theory, and so is methodological prescription. But what drives research design in disciplines that are only in their infancy, or in which for some other reason, there is a theoretical vacuum? In the absence of theory how does the scientist decide on what the discipline is trying to explain, what its standards of explanatory adequacy are, and what counts as the data that will help decide between theories? In such cases there are only two things scientists have to go on: successful theories and methods in other disciplines which are thought to be relevant to the nascent discipline, and the epistemology and metaphysics which underwrites the relevance of these theories and methods. This makes philosophy of special importance to the social sciences. The role of philosophy in guiding research in a theoretical vacuum makes the most fundamental question of the philosophy of science whether the social sciences can, do, or should employ to a greater or lesser degree the same methods as those of the natural sciences? Note that this question presupposes that we have already accurately identified the methods of natural science. If we have not yet done so, the question becomes largely academic. For many philosophers of social science the question of what the methods of natural science are was long answered by the logical positivist philosophy of physical science. And the increasing adoption of such methods by empirical, mathematical, and experimental social scientists raised a second central question for philosophers: why had these methods so apparently successful in natural science been apparently far less successful when self-consciously adapted to the research agendas of the several social sciences? One traditional answer begins with the assumption that human behaviour or action and its consequences are simply not amenable to scientific study, because they are the results of free will, or less radically, because the significant kinds or categories into which social events must be classed are unique in a way that makes non-trivial general theories about them impossible. These answers immediately raise some of the most difficult problems of metaphysics and epistemology: the nature of the mind, the thesis of determinism, and the analysis of causation. Even less radical explanations for the differences between social and natural sciences raise these fundamental questions of philosophy. Once the consensus on the adequacy of a positivist philosophy of natural science gave way in the late 1960s, these central questions of the philosophy of social science became far more difficult ones to answer. Not only was the benchmark of what counts as science lost, but the measure of progress became so obscure that it was no longer uncontroversial to claim that the social sciences’ rate of progress was any different from that of natural science.


2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Maria I. Dergacheva

The article examines the role of the outstanding scientist Vasily Vasilyevich Dokuchaev, whose 175th anniversary was March 1, 2021, in the development of soil ecology as a science of the biosphere class. The natural history methodology, which he introduced into scientific use, is discussed; the methodology was a milestone in the development of not only genetic soil science, but also all natural sciences.


Author(s):  
Richard Moran

In addition to his contributions to the history of philosophy, Bernard Williams’s later work is concerned with more explicit reflection on the role of history in the constitution of the discipline of philosophy, the fact that, unlike the case of the natural sciences, the great figures of philosophy are part of the contemporary discussion in philosophy. In addition these reflections became increasingly concerned with what is distinctive about history as a form of knowledge, a form of knowledge which does not attract the attention of analytic philosophers. Historical knowledge is at once empirical and evidence-based but also, insofar as it concerns human affairs and institutions, obliged to make sense of and reconstruct the perspective of the practices and participants themselves. Part of the importance of historical understanding for Williams lies in its position as a model for humanistic knowledge that is non-reductionist while also being non-ideal, empirical, and “impure.”


2021 ◽  
pp. 199-202
Author(s):  
Beatriz Calvo-Merino

The article reviewed in this chapter discusses how questions initially originated in cognitive neuroscience can be answered with collaborations with nonscientific disciplines, such as performing arts. The author describes the first study that showed dancer’s brain activity when observing dance movements. By investigating how the expert brain works, they demonstrated the important role of sensorimotor processing for movement perception, emotion perception, and aesthetic judgment. This work opened a channel of communication between neuroscientists and performing artists, enabling conversations that have generated novel questions of interest to both disciplines. The chapter discusses three fundamental insights: the importance of prior experience for perception, the importance of motor representations for perception, and the existence of a system for embodied aesthetics. Finally, the author provides some consideration on neuroscientists’ capacity to dissect the aesthetic experience and how this knowledge can be absorbed by the performing artist during the artistic and choreographic process.


2020 ◽  
Vol 17 (2-3) ◽  
pp. 146-169
Author(s):  
Roberta Dreon

This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” (lw 10, 12) in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past.


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