This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. Secondly, cognitive scientists and neuroscientists are rather open to using art as a special way of accessing the structures of the mind. Third, there are artists who explicitly draw inspiration out of current research on various aspects of the mind. Fourth, during the workshop, a converging methodological paradigm emerged around which more specific efforts could be encouraged.
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About the Author
My main interest is the understanding the nature of consciousness. To do so, I believe that we need to change our fundamental categories. The road I envisage passes through the technological land of robotics as well as the misty shadows of theoretical philosophical analysis. We hope I won't get lost along the journey. There is no more important quest than consciousness. For the conscious mind is the point of the universe where knowledge and being are one and the same.
In order to to understand consciousness, we need to understand reality. To understand reality we need two steps: hypotheses and empirical verifications. The scientific tradition narrowed the field of empirical evidence at only the objective facts. In order to understand what consciousness is, a new ontological standpoint is needed and, in order to verify such ontological premises a new kind of experiments must be envisaged.
To verify a theory of consciousness, empirical experiments are needed. Two possibilities are feasible. The first one is interfering with the conscious subjective experience of human beings. To design an experiment in which it is possible to predict and describe in advance a change in content in a subject's experience. The second option is to build an artificial being with a structure that can be related with the development of a true subject. This second approach is followed by implementing an architecture coherent with the new ontology.
Table of Contents
Notes on Authors viii
1 Preface Riccardo Manzotti 1
Part 1 From Externalism to Aesthetics
2 Varieties of Externalism and Aesthetics Riccardo Manzotti 15
3 Externalism, Mind, and Art Erik Myin Johan Veldeman 37
4 Enacting Musical Content Joel Krueger 63
5 Extended Space in Perception and Art Liliana Albertazzi 87
Part 2 Externalist Approaches to Aesthetics
6 Art and Extensionism Robert Pepperell 107
7 The Aesthetics of Material Engagement Lambros Malafouris 123
8 Language, Rhythm, Grain of Voice Sabine Marienberg 141
9 An Externalist Approach to Literature: From Novel to Cave Writing Paola Carbone 155
Part 3 Art Beyoned the Skin
10 Musical Experience and the Extended Self Teed Rockwell 173
11 Music is Everywhere: A Situated Approach to Music Composition Sylvain Le Groux Paul F.M.J. Verschure 189
12 Creation as Secretion: An Externalist Model in Aesthetics Stéphane Dumas 211
13 The Self is Around Me Giuliano Galletta 233