Emphasis is on mental training and the philosophical, psychological, and spiritual elements of the martial arts in this comparison of the various martial-arts systems and mind-body problems often encountered.

An important part of learning to fight is learning to overcome psychological barriers against harming others. Though there are some interesting exceptions, most human beings experience signi cant internal resistance to doing harm to other people. (Marshall 1947, Grossman 1995, Morton 2004, Jensen 2012) Whatever its moral properties, this reluctance to harm can compromise the ability to fight effectively. Hence one might think that combat training should help trainees overcome such barriers. -/- However, on one compelling theory of evil, (...) what makes an action evil, as opposed to merely wrong, is that it is made possible by the agent's use of learned or innate strategies to overcome the natural barriers to harming others. (Morton 2004: 34{68) If this is right, it poses a prima facie moral challenge to these aspects of fight-training. The challenge is a special case of a more general one, namely, how it could be morally permissible to make people better at harming others? That is a question that martial artists rarely take seriously. Indeed, it is commonly thought that becoming a martial artist, and teaching the martial arts, are morally supererogatory. This paper takes the special challenge seriously, and looks at what can be said in response. (shrink)

The question of what constitutes and facilitates mental health or psychological well-being has remained of great interest to martial artists and philosophers alike, and still endures to this day. Although important questions about well-being remain, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would characteristically consist of positive emotion, engagement, relationships, meaning, and accomplishment. Other scholarship has also recently suggested that martial arts practice may positively (...) promote psychological well-being, although recent studies on martial arts have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to the literature by reviewing recent work on psychological well-being and martial arts to determine whether there is substantive support for the claim that practicing martial arts can positively contribute to one flourishing with greater psychological well-being. (shrink)

Physical activities are generally accepted as promoting important psychological benefits. However, studies examining martial arts as a form of physical activity and mental health have exhibited many methodological limitations in the past. Additionally, recent philosophical discussion has debated whether martial arts training promotes psychological wellbeing or illness. Self-efficacy has an important relationship with mental health and may be an important mechanism underpinning the potential of martial arts training to promote mental health. This (...) study examined the effect of martial arts training on the psychological construct of self-efficacy. A total of 283 secondary school students with a mean age of 12.76 (SD = 0.68) years were recruited to complete a time-limited (10-session) martial arts intervention, which was examined using a randomised controlled trial. Univariate ANOVAs found that the intervention improved the experimental group’s self-efficacy compared to the control group, which was sustained at follow-up. Regression analysis indicated that socio-educational status moderated this outcome. These findings support the martial arts-based intervention’s potential to improve self-efficacy and promote wellbeing through physical activity. Martial arts training may be an efficacious psychosocial treatment that can be used as a complementary approach to promote mental health. (shrink)

While defining martial arts is not prerequisite to philosophizing about them, such a definition is desirable, helping us resolve disputes about the status of hard cases. At one extreme, Martínková and Parry argue that martial arts are distinguished from both close combat (as unsystematic) and combat sports (as competitive), and from warrior arts (as lethal) and martial paths (as spiritual). At the other extreme, mixed martial arts pundits and Bruce Lee speak of (...) combat sports generally as martial arts. I argue that the fine-grained taxonomy proposed by Martínková and Parry can be usefully supplemented by a broader definition, specifically the following: martial arts are systematic fighting styles and practices as ways of embodying wisdom. A possible difficulty here is that such views face the charge of overemphasizing the “philosophical” aspect of martial arts. My definition can, however, avoid this apparent problem. If martial arts essentially aim to embody wisdom, this applies no less to the (strategic) practical wisdom of The Art of War than to the (ethical) practical wisdom of the Tao Te Ching. In an extended sense, then, any systematic fighting style, including combat sports, may count as a martial art insofar as it embodies wisdom by improving practical fighting skills. (shrink)

Martial arts and philosophy have always gone hand in hand, as well as fist in throat. Philosophical argument is closely paralleled with hand-to-hand combat. And all of today’s Asian martial arts were developed to embody and apply philosophical ideas. In his interview with Bodidharma, Graham Priest brings out aspects of Buddhist philosophy behind Shaolin Kung-Fu — how fighting monks are seeking Buddhahood, not brawls. But as Scott Farrell’s chapter reveals, Eastern martial arts have (...) no monopoly on philosophical traditions: Western chivalry is an education in and living revival of Aristotelian ethical theories. Several chapters look at ethical problems raised by the fighting arts. How can the sweaty and brutal be exquisitely beautiful? Every chapter is easily understandable by readers new to martial arts or new to philosophy. (shrink)

A groundbreaking approach to martial arts combining Self-Image Psychology and Qigong. Martial arts teacher Phillip Starr draws on more than sixty years of experience to introduce the Mirror Image Technique--a method that recognizes the reinforcing nature of body and mind. Our self-image expresses in how we stand, move, and hold ourselves in the world; and in martial arts, the way we move reflects the way we think on the mat, in practice, and when sparring. (...) Here, Starr pulls from Self-Image Psychology and Qigong to offer readers a unique set of physical exercises that can be applied to any martial art tradition--as well as our personal lives. Like two mirrors facing each other, the physical body both reflects and changes the mind, and vice versa: our physical movements become more than just the consequence of our intentions or thoughts. As we adjust the way we move, we adjust the way we think: about ourselves, our lives, and our environments. Unlike other self-help books that consider the mind as the sole gateway to change, the Mirror Image Technique shows that cognitive transformation starts with the body. Starr takes readers through: • Demonstrating key principles of Qigong with exercises like The Unbreakable Arm and The Unliftable Body • Improving your stance • Increasing your strike force • Insights into the mindset for breaking boards (tameshiwari). Intended to enhance growth and personal development, the techniques in Martial Arts and the Mirror Image lead to a renewal of confidence and enthusiasm for one’s particular practice. (shrink)

Excerpt from The Psychological Aspects of Christian Experience Continued observation of the various methods of religious instruction has brought upon me a conviction that grows stronger as the years go by, that there must be, as Francis Peabody says, a new expansion of the range of studies appropri ate to the teachers of religion. There ought to be a far deeper study of the psychology of reli gion. The appeal to the impulses and emotions, so prevalent in the (...) methods of some teachers, is far behind twentieth century enlightenment. It was foreign to the methods of our Saviour. He taught men. He did not frighten them into ao tion, neither entice them. He instructed their minds in truth. Ye shall know the truth and the truth shall make you free. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Many traditional martial artists assert that MMA is not a martial art, denying that the ‘martial skill’ of MMA constitutes a ‘martial art’, and citing the sportive and entertainment aspects of MMA competitions as antithetical to the spirit of martial arts, lacking the integrity, discipline, and tradition found in martial arts. Today, these criticisms are even more relevant in light of the fact that the typical MMA fighter no longer practices a (...) single discipline but is versed in a variety of techniques and utilizes a variety of strength and conditioning modalities. In addition, with the development of social media and mainstream media’s acceptance of MMA as a legitimate sport, MMA is now more than ever about entertainment. We argue that MMA is a martial art, but it is not always practiced as one. By drawing upon Socrates’ distinction in Plato’s Gorgias between ‘knacks’ and ‘crafts’, we clarify the difference between ‘martial skills’ and ‘martial arts’. Using this distinction, we examine whether the sportive and entertainment aspects of MMA are, in fact, antithetical to the spirit of martial arts. We argue that the latter is, but the former is not. (shrink)

This study aimed to meta-analyze the relationship between self-management and exercise self-confidence, satisfaction, and commitment in both modern and traditional martial arts among Korean practitioners. We examined the level of sports participation and different martial arts sports as potential moderating variables. In total, 22 studies yielded 299 individual effect sizes and were included in the final meta-analytic pool. The analyses revealed a moderate effect of self-management on exercise satisfaction and self-confidence; and a large effect self-management on (...) exercise commitment. Especially, the effect of the training dimension of self-management was large on exercise commitment and satisfaction, while that of the mental dimension was large on exercise self-confidence. The effects of self-management on exercise satisfaction, commitment, and self-confidence were large in judo, Ssireum, and wrestling, respectively. Finally, the use of self-management was relatively more effective for non-elite participants than for elite practitioners. Our results highlight the effectiveness of self-management to enhance Korean martial arts practitioners’ exercise self-confidence, commitment, and satisfaction, findings that may potentially be extended internationally and to other types of sports; further, they showcase the importance of the promotion of interventions and educational programs on how to incorporate/employ self-management in athletes’ sports training. (shrink)

Pencak Silat is a martial art, performance practice and system of body cultivation prevalent throughout much of Indonesia and the Malay-speaking world. This article compares different modalities of the practice and pedagogy of Sundanese Pencak Silat in West Java with more recent attempts to standardize practice at a national level under the auspices of the Indonesian Pencak Silat Association. Drawing on David Sudnow’s seminal account of learning how to play jazz piano, it is suggested that learning how to improvise (...) is a highly structured process that proceeds from the mastery of certain generic principles from which are generated potentially unbounded repertoires of habitual response. In the institutionalized instruction that is propagated by IPSI generative potential is subjugated to the desire to achieve homogeneity in practice. Aspects of Pencak Silat as it is taught nationally under the auspices of IPSI are examined in relation to the notion of spectacle. In conclusion, it is argued that the limits of the Nationalist project become self-evident as the dynamic potential of the body in Sundanese Pencak Silat is subsumed in an attempt to achieve fixity of the symbolic order. (shrink)

Doctor Stephen Strange was a renowned neurosurgeon in his “previous life”, but after his time in Kamar‐Taj he is mostly associated with his mastery of the mystic arts. In Doctor Strange people learn that mastery of physical skills is critical for mastery as a mystic. In addition to the physical skills of martial arts, the portrayal of Doctor Strange is reminiscent of many aspects of Eastern philosophical traditions. Ironically, the reason that Strange originally gave for seeking (...) the elixir is that he swore the Hippocratic Oath, which requires him to prescribe medical treatments for the good of his patients. One problem with applying the Hippocratic Oath to Strange's choice is that it's meant to apply to the doctor‐patient relationship. Perhaps Stan Lee and Steve Ditko, the creators of Doctor Strange, meant to show that, by losing his skill as a surgeon, Strange finally learned what it means to be a good physician. (shrink)

Loïc Wacquant’s article ‘Homines in Extremis’ outlines five propositions about habitus that support a broader and richer use of Bourdieu’s famous concept. His article was a response to a new edited volume by Sanchez and Spencer under the title Fighting Scholars. In this article, I support Wacquant’s argument, but suggest that he undersells habitus as a topic of and tool for inquiry. I point to previous conversations about habitus and suggest that we may learn more about social phenomena by engaging (...) the relational aspects of habitus and the social aspects of the incorporation of habitus. (shrink)

In recent years there has been a boom in the study of the Yi Jing (the Book of Changes) and ancient Chinese forms of physical exercise in European countries such as Germany, Belgium and France, with research themes focusing on psychotherapeutic and medical clinical experimental studies, such as a study conducted at the Institute of Psychology at the University of Tübingen in Germany that emphasised that moderate general physiological activation, exercise-dependent regulation of the heart rhythm ANS can induce a typical (...) state of calm to regulate Qi. There are few theoretical studies on the metaphysical aspects of the existence of such healthful and beneficial underlying psychophysiological mechanisms of mind-body exercise Florens（2021）, so this paper chooses to use the practice of Qi as a case study, where Qi practice refers to the classical and systematic use in Chinese martial arts’ internal styles and systems such as Taijiquan (Taichi), Qigong and shaolinquan(Shaolin Boxing). A primarily documentary research approach is adopted, this paper using classical theories from the Yi Jing to analyse a metaphysical analysis of the physical exercises associated with Qi. The conclusions of the study show that: Firstly, Chinese traditional methods and practical experience can be drawn upon. Secondly, the classical theory of the Yi Jing, which uses Qi as the core of practice, enriches the ontology of human life perception in the field of philosophy. Thirdly, the ultimate pursuit of life through the practice of Qi is a concrete manifestation of the metaphysical holistic view of life in traditional Chinese physical exercises. (shrink)

Purpose: The main aim of the research was to analyse aggression dimensions among athletes practising martial arts and combat sports.Material and Methods: There were 219 respondents. The Buss and Perry Aggression Questionnaire in the Polish adaptation by Siekierka was applied.Results: Martial arts apprentices turned out to present a statistically significantly lower level of hostility and of the general aggression index than combat sports athletes. It turned out that lower level of aggression was noted in female participants, (...) verbal aggression, hostility, and the general aggression index. Analysis revealed that the training experience and the training rank did not differentiated the level of the respondents' particular aggression dimensions.Conclusions: It would be advisable to perform parallel analyses in other areas of Poland and take into account the respondents' education and place of residence. (shrink)

Does martial arts practice contribute to psychological well-being in professional martial artists? If so, what are the specific ways that martial arts practice accomplishes this? It has been a long-standing and widely held belief that martial arts practice can contribute to psychological well-being, however, there has been a lack of empirical research in the psychological literature focused on investigating the details of this hypothesis. The purpose of this research is therefore (...) to investigate the impact of a paradigmatic martial arts practice—shadowboxing—on the psychological well-being of professional martial artists. In this article I present the results from an original empirical study on professional Muay Thai practitioners (n = 14) that reveals how a martial arts practice (shadowboxing) contributes to their overall psychological well-being by contributing to their positive emotions, engagement, relationships, meaning, and accomplishment. I present general results for how shadowboxing contributes to the psychological well-being of these professional martial artists overall, as well as more specific results for how shadowboxing contributes to the psychological well-being of these professional martial artists based on factors such as their gender, fight experience, and training location. This article also provides qualitative first-person reports from professional Muay Thai practitioners (n = 14) about their use of visualization and mental imagery and their experience of flow while shadowboxing, offering unique insight into the minds of professional martial artists as they are actively engaged in their craft. Finally, this article discusses the value and limitations of the present study and outlines suggestions for future research. (shrink)

In _The Subject of Aesthetics_ Tone Roald develops a psychology of art based on people’s descriptions of their own engagement with visual art.

Some philosophers argue that martial arts training is maladaptive, contributes to psychological illness, and provides a social harm, whereas others argue that martial arts training is adaptive, contributes to psychological wellness, and provides a social benefit. This debate is important to scholars and the general public since beliefs about martial arts training can have a real impact on how we evaluate martial artists for job opportunities and career advancement, and in general, (...) how we treat martial artists from different cultures in our communities. This debate is also important for children and adults that have considered enrolling in martial arts training programs but remain uncertain about potential outcomes of training due to the lack of research in this area. This article therefore contributes to the literature on martial arts by (1) outlining a framework that characterizes psychological well-being in terms of five elements, (2) discussing how results from empirical research support the hypothesis that Muay Thai training can contribute to psychological well-being by contributing to all five component elements, (3) discussing the psychological benefits of martial arts training from the perspective of an Everlast Master Instructor, and (4) discussing how martial arts training involves the cultivation of combat-relevant affordances. (shrink)

In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

Instead of simply following the current neoliberal mantra of proclaiming economic growth as the single most important factor for maintaining well-being, Education and Schmid's Art of Living revisits the idea of an education focused on personal development and the well-being of human beings. Drawing on philosophical ideas concerning the good life and recent research in positive psychology, Teschers argues in favour of shifting the focus in education and schooling towards a beautiful life and an art of living for today's students. (...) Containing a thorough discussion of the ideas of contemporary German philosopher Wilhelm Schmid, this book considers the possible implications of developing a more humanistic and life-centred approach to educational policy, research and practice, showing that Schmid's concept of Lebenskunst provides a firm philosophical basis for this endeavour. Among others, this book draws on analytical and continental traditions to challenge current views and assumptions in regard to education and the role of schooling for contemporary societies. As a result, Teschers' work is sure to spark a debate about the direction of educational policy and practice in the 21st century. Education and Schmid's Art of Living is essential reading for academics and students with an interest in education. Given the importance of such topics as the relationship between education and society, teacher education and how best to structure schools and learning environments, Teschers' work will appeal to academics and students in a diverse range of fields, including education, philosophy, sociology and psychology. (shrink)

The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the (...) questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field. (shrink)

In The Psychologizing of Modernity, Mark Jarzombek examines the impact of psychology on twentieth-century aesthetics. Analysing the interface between psychology, art history and avant-gardist practices, he also reflects on the longevity of the myth of aesthetic individuality as it infiltrated not only avant-garde art, but also history writing. The principal focus of this study is pre-World War II Germany, where theories of empathy and Entartung emerged; and post-war America, where artists, critics and historians gradually shifted from their reliance on psychology (...) to philosophy, and, most recently, to theory. Included are discussions of writers such as Heinrich Wölfflin, Ludwig Volkmann, John Dewey, Vincent Scully and Richard Arnheim, among others. The Psychologizing of Modernity is a broad and erudite study of the evolution of modern aesthetic thinking in the fields of art and architectural history. (shrink)

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that (...) includes the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

The present work aims at developing a scale for the assessment of a construct that we called “physical–digital integration”, which refers to the tendency of some individuals not to perceive a clear differentiation between feelings and perceptions that pertain to the physical or digital environment. The construct is articulated in four facets: identity, social relationships, time–space perception, and sensory perception. Data from a sample of 369 participants were collected to evaluate factor structure (unidimensional model, bifactor model, correlated four-factor model), internal (...) consistency (Cronbach’s _α_, McDonald’s _ω_), and correlations of the physical–digital integration scale with other measures. Results showed that the scale is valid and internally consistent, and that both the total score and the scores at its four subscales are worthy of consideration. The physical–digital integration scores were found to be differently associated with digital and non-digital behaviors, individuals’ ability to read emotions in the facial expressions of others, and indicators of psychosocial functioning (anxiety, depression, and satisfaction with social relationships). The paper proposes a new measure whose scores are associated with several variables that may have relevant consequences at both individual and social levels. (shrink)

The author proposes a field as a new sub-branch of psychology, called Esoteric Psychology. This would be a sub-branch of Cognitive Psychology. The author claims that even the newest forms of psychology are not able to investigate special or higher states of consciousness, due to being too externally oriented; that is, standing outside of the subjective space of the subject. The author cites a wealth of information and guidance which has come down to us from ancient times, and which is (...) practiced in the forms of shamanism, certain religions, martial arts and yoga; he claims that these can be organized and used to deliberately attain the desired states and, in these states, the scholar-practitioner will be able to study, understand and assist in new therapies and larger ideas than otherwise. The aspiration is that the subconscious and unconscious minds could be better understood and accessed, and also legendary features of the mind could be apprehended, such as miracles and the supernatural. The author claims that, in so doing, ‘reality’ could be transformed and the general consciousness of society could be uplifted. (shrink)

Evolutionary psychology is among the various evolutionary and cognitive perspectives that have been used to account for the origins of art. It sets out to explain modern human psychology by means of the evolutionary history of the species, and by determining why and how our extant cognitive machinery evolved as adaptations to past environmental surroundings or by-products of such adaptations. In the case of art, evolutionary psychologists seek to track down its cognitive foundations and establish its evolutionary rationale, for instance (...) by determining which function artistic behaviour as a whole might have performed. However, several methodological issues and gaps currently impede evolutionary psychological research on art: empirical support is often lacking, adaptationist claims are not adequately substantiated, and the definition and scope of basic aspects of evolutionary psychology often remain underspecified. This paper reviews the central themes that evolutionary psychology currently advances to account for the emergence of visual arts, music and fiction, addresses the most relevant methodological issues, and provides some suggestions that might help to develop evolutionary research on art. (shrink)

I argue for the possibility of a proprioceptive art in addition to, for example, visual or auditory arts, where aspects of some martial arts will serve as examples of that art form. My argument is inspired by a thought of Ted Shawn’s, one of the pioneers of American modern dance: "Dance is the only art wherein we ourselves are the stuff in which it is made.” In a first step, I point out that in some practices (...) of martial arts (in the paper I will introduce “hyongs” & “katas”), we are, too, the stuff these performances are made of. Second, I show that we, as martial arts practitioners, are not in the first place visual or auditorial observers (as common in painting or music or ballet) but introspective, proprioceptive perceivers of our bodies and their movements. (As a corollary we get that we are, in such a case, necessarily our exclusive audience.) In an third crucial step, I show that the martial arts practices referred to, hyongs & katas, and especially the proprioceptive aspects thereof, can indeed count as art. Thus, proprioceptive art is possible because some practices of some martial arts are actual existing examples of that art form. (shrink)

Brain–Computer Interface (BCI) technology is a promising research area in many domains. Brain activity can be interpreted through both invasive and non-invasive monitoring devices, allowing for novel, therapeutic solutions for individuals with disabilities and for other non-medical applications. However, a number of ethical issues have been identified from the use of BCI technology. In this paper, we review the academic discussion of the ethical implications of BCI technology in the last five years. We conclude that some emerging applications of BCI (...) technology—including commercial ventures that seek to meld human intelligence with AI—present new and unique ethical concerns. Further, we seek to understand how academic literature on the topic of BCIs addresses these novel concerns. Similar to prior work, we use a limited sample to identify trends and areas of concern or debate among researchers and ethicists. From our analysis, we identify two key areas of BCI ethics that warrant further research: the physical and psychological effects of BCI technology. Additionally, questions of BCI policy have not yet become a frequent point of discussion in the relevant literature on BCI ethics, and we argue this should be addressed in future work. We provide guiding questions that will help ethicists and policy makers grapple with the most important issues associated with BCI technology. (shrink)

I confront arbitrariness of the sign to a criterion assessing the quality of language, logical system, psychometrics and art.

When I first started to think about the neural basis of aesthetic experiences in the late 1990s, little was written on the topic. Unlike other domains of psychology, such as attention, or perception, or memory, aesthetics had not gained purchase in cognitive neuroscience. In fact, aesthetics was barely visible in psychology itself despite being rooted in Fechner's writings over a hundred years earlier. In 1999, papers by Zeki (1999) and Ramachandran and Hirstein (1999) were initial forays into scientific aesthetics by (...) established neuroscientists. While undeniably important as initial markers for the field, their papers were but a first step. They were speculative and did not offer a framework for a systematic research program. Scholars in the humanities latched on to these initial papers, in ways that were detrimental to the field. For the most part, they ignored subsequent careful experimental work done by neuroscientists, as if neuroaesthetics began and ended in 1999 (Chatterjee, 2011). Missing in early discussions was a basic question: what would a framework that could guide experimental progress in the neuroscience of aesthetics entail? (shrink)

Plus qu'un ouvrage concernant les rapports ombrageux et controversés de l'art et de la pathologie, ce recueil est d'abord une rencontre, un creuset entre des champs, la clinique et la théorie qui, pour s'y confronter, excèdent les limites du " prêt-à-penser ". C'est pourquoi ici les divergences de méthodes et de perspectives entre des approches phénoménologique et psychanalytique ne dressent pas de strictes délimitations, mais font résonner des dissonances capables de laisser penser l'écart entre l'art et la pathologie comme établi (...) sur une entr'appartenance plus essentielle, ne livrant rien de son secret à celui qui s'en tient à des distinctions de principe. Encore faut-il entendre pathologie en son sens grec, au sens où la rencontre avec le monde ouvre, dans le réel, une brèche incolmatable dont seul l'art peut authentiquement rendre compte et dans laquelle la psychose s'engouffre si aucune mise en œuvre ne vient l'endiguer ou la ressourcer. " Aussi ne faut-il pas s'étonner que penser l'art et penser la folie puissent converger dans la mesure où ni l'un ni l'autre ne sont conceptualisables. Finalement, penser l'art ou penser la folie, c'est avoir ouverture à eux, à travers les œuvres, à travers les êtres malades et cela n'est possible précisément que dans une rencontre. Qu'est-ce qu'une rencontre? C'est cette situation qui n'a pas d'antécédent, qui n'a pas d'espace ni de temps qui puisse la précéder. L'épiphanie de quelqu'un dans le regard d'un autre implique nécessairement l'autophanie de celui-ci. L'échec de la rencontre, récusant tout passage lucide à l'ouvert, rejette le thérapeute sur sa facticité. C'est pour se dérober à l'épreuve sans partage de cette absence de soi, que la psychiatrie médicale, scientifico-médicale fait l'impasse sur la présence de l'autre, en objectivant tout ce qui touche à l'homme, en faisant de lui un cas particulier de cette objectivation universelle qui est la caractéristique de la culture de notre époque. ". (shrink)

Given that computers are not merely information-processors but rather representation-processors, who are the people most suited to dealing with representations of consciousness or the lack of it, once these consist in a computer? Who are the experts on irredundant holism when it comes to making sense of and manipulating these representations? Neither scientists nor philosophers, but rather artists, poets and so on. If this is the case it is not surprising that there already exists, in and out of the computational (...) domain, a body of knowledge about and evidence for the synthesis in an almost alchemical way of the scientific and philosophical (spiritual, one might almost say) approaches to consciousness. This presentation will examine aspects of zombie in both computer-based and traditional art, with several previously unknown examples of the use of zombie-like imagery in classical art leading to contemporary attempts to portray the nothing that being a zombie is like. Audience participation will be more or less obligatory. This document is really background notes to the above, pretending to be a paper. (shrink)

Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. Pages de début Avant-propos Chapitre premier - Art, esthétique et sciences humaines Chapitre II - Formes, couleurs et sons Chapitre III - L'œuvre d'art picturale Chapitre IV - Le domaine musical Chapitre V - Les espaces architecturaux (...) Chapitre VI - Aspects esthétiques et iconiques du corps Chapitre VII - L'image cinématographiquePages de fin. (shrink)

What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'. -/- The emergence of consciousness studies as a multidisciplinary discourse addressing these (...) issues has often been associated with rapid advances in neuroscience-perhaps giving the impression that the arts and humanities have arrived late at the debating table. The longer historical view suggests otherwise, but it is probably true that music has been under-represented in accounts of consciousness. Music and Consciousness aims to redress the balance: its twenty essays offer a timely and multi-faceted contribution to consciousness studies, critically examining some of the existing debates and raising new questions. -/- The collection makes it clear that to understand consciousness we need to do much more than just look at brains: studying music demonstrates that consciousness is as much to do with minds, bodies, culture, and history. Incorporating several chapters that move outside Western philosophical traditions, Music and Consciousness corrects any perception that the study of consciousness is a purely occidental preoccupation. And in addition to what it says about consciousness the volume also presents a distinctive and thought-provoking configuration of new writings about music. (shrink)

In order to establish a rational framework within which to discuss aesthetic matters, I attempt to find grounds to support the notion that objectivity in aesthetic evaluation is possible, within the visual arts. I begin by exploring the possibility that the foundations of our aesthetic response are innate, because, if this is the case, it would indicate that aesthetic considerations have a common basis within us all, rather than belonging to a purely personal and subjective realm. In Part One, (...) in search of foundations, I turn to the art of those who are relatively unprogrammed in our artistic conventions, in an attempt to distinguish between innate impulses and conditioned responses. Next, by looking for the motivation behind the aesthetic impulse, and what this can tell me about how the aesthetic is constituted, I consider the possibility that the aesthetic impulse is in some way linked to characteristics which aid survival. This includes studying the nature of perception, including various innate perceptual mechanisms and the part they play in the way our idea of the aesthetic is constituted, and some theories concerned with the psychological aspects involved in creativity, which link the aesthetic impulse with creativity in all fields of enquiry. In Part Two, I study examples of how discussions on aesthetic matters are conducted in our culture, to see whether there is evidence to support the notion of objectivity in aesthetic evaluation. While recognizing that it is common for aesthetic discussions to be conducted in a confused and even unintelligible manner, often using criteria actually irrelevant to aesthetic value (an example of which I provide), I seek out examples of reviews which are conducted in a rational and intelligible manner, based on relevant objective criteria. Also, by analysing the terms we use when discussing an art work, I ascertain whether these terms refer to properties in the actual art work, which we believe exist independently from the spectator, or whether these terms describe how we feel when viewing a work. In other words, I examine whether we have the concepts to support the idea that objectivity in aesthetic evaluation in the visual arts is possible. (shrink)

À travers une vingtaine de contributions de chercheurs et d'artistes, L'art tout contre la machine invite à réfléchir à la médiation de la technique dans notre rapport au monde telles que les pratiques artistiques contemporaines en esquissent le sens. Il se divise en trois parties, qui tissent de nombreux liens entre elles : « Technique et nature » ; « Interfaces relationnelles et dispositifs génératifs » et « Outils conviviaux et machines domestiques ». Les objectifs sont multiples : interroger des (...) œuvres et des procédures artistiques pour leur capacité à mettre en évidence les incidences des dispositifs machiniques sur nos environnements d'existence ; faire apparaître les filiations de dispositifs de création a priori hétérogènes en interrogeant les circulations entre différents régimes de technicité ; mettre en relief enfin la portée politique et artistique d'une compréhension conviviale des outils de création et la spécificité du rapport à la technique qui la sous-tend. (shrink)

This book is an introduction to psychological aesthetics for art educators, art therapists, psychoanalysts, artists, and art lovers.

Schizoanalysis is Deleuze and Guattari's fusion of psychoanalytic-inspired theories of the self, the libido and desire with Marx-inspired theories of the economy, history and society. Schizoanalysis holds that art's function is both political and aesthetic - it changes perception. If one cannot change perception, then, one cannot change anything politically. This is why Deleuze and Guattari always insist that the artists operate at the level of the real (not the imaginary or the symbolic). Ultimately, they argue, there is no necessary (...) distinction to be made between aesthetics and politics. One is simply the flipside of the other because both concern the formation and transformation of social and cultural norms. Deleuze and the Schizoanalysis of Visual Art explores how every artist, good or bad, contributes to the structure and nature of society because their work either reinforces social norms, or challenges them. On this view of things, we are all artists, we all have the potential to exercise what might be called a 'aesthetico-political function' and change the world around us; or, just as easily, we can dwell like assassins, and not only let the status quo endure but fight to preserve it as though it were freedom itself. (shrink)

It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects and (...) events. Therefore these explanations fail to disambiguate artworks from other things. They fail to locate art. This observation points to a deeper problem. What interests us in art is how what we perceive has been used to show us what the work represents. Our understanding of art is governed by a range of productive and evaluative normative conventions that govern how we ought to look at a work and evaluate how it was made. The normative dimension of appreciation argument suggests that these aspects of our engagement with artworks lie outside the scope of neuroscientific explanations of art. This chapter provides a sketch of a diagnostic recognition framework for engaging art that resolves both problems and helps explains how artworks function within the social institution of the artworld to facilitate a communicative exchange between artists and consumers. (shrink)

This book considers the experience of enchantment in art. Considering the essential characteristics, dynamics and conditions of the experience of enchantment in relation to art, including liminality, it offers studies of different kinds of artistic experience and activity, including painting, music, fiction and poetry, before exploring the possibility of a life oriented to enchantment as the activity of art itself. With attention to the complex relationship between wonder in art and the programmatic disenchantment to which it is often subject, the (...) author draws on the thought of a diverse range of philosophers, sociological theorists and artists, to offer an understanding of art through the idea of enchantment, and enchantment through art. An accessible study, richly illustrated with experience - both that of the author and others - Art and Enchantment will appeal to scholars and students of sociology, anthropology, philosophy, and anyone with interests in the nature of aesthetic experience. (shrink)

Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...) What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)