Abstract

Context: Current theories of art, particularly those developed from a neuroscientific perspective, fail to take adequate account of the role, methods or motivations of the artist. The problem is that the lack of the artist’s voice in interdisciplinary theoretical research undermines the basis of current theoretical models. Problem: How can artists purposefully engage with contemporary consciousness studies? The aim of the research was to develop new methodologies appropriate for cross-disciplinary research and to establish what value, if any, neuroaesthetic or phenomenological theories of art could hold for contemporary arts practice. Method: My approach to the topic was to explore the application of neuroaesthetic and phenomenological theory through practice-based research in contemporary art. Results: The paper maps out a proposed avenue of research, and some initial findings, rather than the results of an inquiry. Implications: This paper will be of interest to those who work in philosophy of art and visual perception and those who are exploring empirically-based research methodologies in philosophy. Insights will be beneficial to arts practitioners, philosophers and scientists researching aesthetic experience. Constructivist content: The paper explores Noë’s sensorimotor theory of perception and the extended temporal relation between visual elements of an artwork as its forms are created in consciousness