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The Aesthetic Mind
Philosophy and Psychology
Edited by Elisabeth Schellekens and Peter Goldie
480 pages
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234x156mm
978-0-19-969151-7
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Hardback
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13 October 2011
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- The first book of its kind
- Will set a new agenda for the study of art and the aesthetic
- Illuminates key questions about human experience, expression, and understanding of the world
- Draws together the latest research in philosophy, psychology, neuroscience, and social anthropology
- Discusses a wide range of artforms
The Aesthetic Mind breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the experience of art. An eminent international team of experts presents new research in philosophy, psychology, neuroscience, and social anthropology: they explore the roles of emotion, imagination, empathy, and beauty in this realm of human experience, ranging over visual and literary art, music, and dance. Among the questions discussed are: Why do we engage with things aesthetically and why do we create art? Does art or aesthetic experience have a function or functions? Which characteristics distinguish aesthetic mental states? Which skills or abilities do we put to use when we engage aesthetically with an object
and how does that compare with non-aesthetic experiences? What does our ability to create art and engage aesthetically with things tell us about what it is to be a human being? This ambitious and far-reaching volume is essential reading for anyone investigating the aesthetic and the artistic.Readership: Philosophers and scientists working on aesthetic experience.
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Edited by Elisabeth Schellekens, University of Durham, and Peter Goldie, formerly University of Manchester Elisabeth Schellekens is Senior Lecturer at the University of Durham, and Associate Editor of the British
Journal of Aesthetics. She is the author of Aesthetics & Morality (Continuum, 2007), co-author of Who's
Afraid of Conceptual Art (Routledge, 2009), and is currently working on a book on Aesthetic Objectivism.
She was post-doctoral research fellow on the AHRC-funded project 'Towards an aesthetic psychology:
the philosophy of aesthetic perception and cognition' between 2004 and 2006. Her main research
interests include questions at the intersection of the philosophy of mind and aesthetics, meta-ethics, and Kant.
Peter Goldie is Samuel Hall Professor in Philosophy at the University of Manchester. He is the author of Philosophy and Conceptual Art (OUP, 2007), On Personality (Routledge, 2004), and The Emotions: A Philosophical Exploration (Clarendon Press, 2000).
Contributors:
Noël Carroll, Graduate Center of the City University of New York
Zanna Clay, St Andrews University
Roddy Cowie, Queen's University, Belfast
Gregory Currie, University of Nottingham
David Davies, McGill University
Stephen Davies, University of Auckland in New Zealand
Norman H. Freeman, University of Bristol
Roman Frigg, London School of Economics
Peter Goldie, University of Manchester
Catherine Howard, University of New South Wales
Marco Iacoboni, UCLA
Matthew Kieran, University of Leeds
Peter Lamarque, University of York
Robert Layton, University of Durham
Jerrold Levinson, University of Maryland
Derek Matravers, Open University
I. C. McManus, University College London
Aaron Meskin, University of Leeds
David Miall, University of Alberta, Canada
Margaret Moore, University of Leeds
Jesse Prinz, City University of New York
Lena Quinto, Macquarie University
Mark Rollins, Washington University, St. Louis
Edmund Rolls, Oxford Centre for Computational Neuroscience
Elisabeth Schellekens, University of Durham
Dorothy Singer, Yale University
Jerome Singer, Yale University
Kathleen Stock, University of Sussex
William Forde Thompson, Macquarie
University
Jonathan Weinberg, Indiana University, Bloomington
Dahlia W. Zaidel, UCLA
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Elisabeth Schellekens and Peter Goldie: Introduction
PART 1: The PSYCHOLOGY OF THE AESTHETIC
1: Gregory Currie: The Master of the Masek Beds: Handaxes, Art and the Minds of Early Humans
2: Matthew Kieran: The Fragility of Aesthetic Knowledge: Aesthetic Psychology and Appreciative Virtues
3: Dahlia W. Zaidel: Neuroscience, Biology, and Brain Evolution in Visual Art
4: Roman Frigg & Catherine Howard: Fact and Fiction in the Neuropsychology of Art
PART 2: EMOTION IN AESTHETIC EXPERIENCE
5: Jesse Prinz: Emotion and Aesthetic Value
6: Roddy Cowie: Beauty is Felt, not Calculated; and it Does Not fit in Boxes
7: Peter Goldie: The Ethics of Aesthetic Bootstrapping
8: Edmund Rolls: The Origins of Aesthetics: A Neurobiological Basis for Affective Feelings and Aesthetics
PART 3: BEAUTY AND UNIVERSALITY
9: I. C. McManus: Beauty is Instinctive Feeling: Experimenting on Aesthetics and Art
10: Jerrold Levinson: Beauty Is Not One: The Irreducible Variety of Visual Beauty
11: Robert Layton: Aesthetics: The Approach from Social Anthropology
12: Elisabeth Schellekens: Experiencing the Aesthetic: Kantian Autonomy or Evolutionary Biology?
PART 4: IMAGINATION AND MAKE-BELIEVE
13: Aaron Meskin and Jonathan Weinberg: Imagination Unblocked
14: Dorothy & Jerome Singer: An Attitude Towards the Possible: The Contributions of Pretend Play to Later Adult Consciousness
15: Kathleen Stock: Unpacking the Boxes: The Cognitive Theory of Imagination and Aesthetics
PART 5: FICTION AND EMPATHY
16: David Miall: Enacting the Other: Towards an Aesthetics of Feeling in Literary Reading
17: Peter Lamarque: On Keeping Psychology Out of Literary Criticism
18: Zanna Clay & Marco Iacoboni: Mirroring Fictional Others
PART 6: MUSIC, DANCE, AND EXPRESSIVITY
19: Noël Carroll & Margaret Moore: Moving in Concert: Dance and Music
20: David Davies: 'I'll Be Your Mirror'?: Embodied Agency, Dance, and Neuroscience
21: William Forde Thompson & Lena Quinto: Music and Emotion: Psychological Considerations
22: Stephen Davies: Cross-cultural Musical Expressiveness: Theory and the Empirical Programme
PART 7: PICTORIAL REPRESENTATION AND APPRECIATION
23: Mark Rollins: Neurology and the New Riddle of Pictorial Style
24: Norman H. Freeman: Varieties of Pictorial Judgement: A Functional Account
25: Derek Matravers: Pictorial Representation and Psychology
Index
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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