Perception Cognition And Aesthetics
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Perception, Cognition and Aesthetics
This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art.
Cognitive Ecology
Cognitive Ecology identifies the richness of input to our sensory evaluations, from our cultural heritage and philosophies of aesthetics to perceptual cognition and judgment. Integrating the arts, humanities, and sciences, Cognitive Ecology investigates the relationship of perception and cognition to wider issues of how science is conducted, and how the questions we ask about perception influence the answers we find. Part One discusses how issues of the human mind are inseparable from the culture from which the investigations arise, how mind and environment co-define experience and actions, and how culture otherwise influences cognitive function. Part Two outlines how philosophical themes of aesthetics have guided psychological research, and discuss the physical and aesthetic perception of music, film, and art. Part Three presents an overview of how the senses interact for sensory evaluation.
Art as Cognition: How Gist Reframes the Aesthetic Experience as Conversation
This book offers a different take on the aesthetic experience. Firstly, aesthetics has traditionally been analyzed only from the point of view of the viewer. This book does not do that, as aesthetics involves both a viewer and a maker; thus, a satisfactory account of the aesthetic experience would be one that was derived from both kinds of perceptual experiences. Secondly, this book focuses on the role of low-level features, such as texture, illumination, color, shape, movement, etc., in the aesthetic experience. Perception itself significantly involves these low-level features, and the sensory experience of aesthetics does so particularly. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. This gist experience is also viewed through the philosophical lens of sensing, which gives a framework with which to understand low-level percepts. Thirdly, the book concludes with a description of how the perceptual and cognitive processes of viewer and maker interact with curatorial/critical testimony in order to construct the artwork’s meaning. Thus, art is seen as a kind of conversation.