People across the world seek out beautiful sounds in nature, such as a babbling brook or a nightingale song, for positive human experiences. However, it is unclear whether this positive aesthetic response is driven by a preference for the perceptual features typical of nature sounds versus a higher‐order association of nature with beauty. To test these hypotheses, participants provided aesthetic judgments for nature and urban soundscapes that varied on ease of recognition. Results demonstrated that the aesthetic (...) preference for nature soundscapes was eliminated for the sounds hardest to recognize, and moreover the relationship between aesthetic ratings and several measured acoustic features significantly changed as a function of recognition. In a follow‐up experiment, requiring participants to classify these difficult‐to‐identify sounds into nature or urban categories resulted in a robust preference for nature sounds and a relationship between aesthetic ratings and our measured acoustic features that was more typical of easy‐to‐identify sounds. This pattern of results was replicated with computer‐generated artificial noises, which acoustically shared properties with the nature and urban soundscapes but by definition did not come from these environments. Taken together, these results support the conclusion that the recognition of a sound as either natural or urban dynamically organizes the relationship between aesthetic preference and perceptual features and that these preferences are not inherent to the acoustic features. Implications for nature's role in cognitive and affective restoration are discussed. (shrink)

Mark Johnson’s work The Meaning of the Body presents John Dewey’s pragmatism and pragmatist aesthetics as the forerunners of the anti-Cartesian embodied enactive approach to human experience and meaning. He rejects the Kantian noncognitive character of aesthetics and emphasizes that aesthetics is the study of the human capacity to experience the bodily conditions of meaning constitution that grows from our bodily conditions of life. Using Mark Johnson’s view as a starting-point, this paper offers the beginning of an enactive approach to (...) aesthetic preference contributing to bringing human aesthetic behavior research closer to the enactive approach to human experience. Following enactive studies on bodily sense-making and embodied emotions, I identify the bodily conditions of meaning constitution in which aesthetic preference is grounded with the subject’s self-regulatory visceral embodied constitution of viable degrees of value of the environmental factors according to her bodily structure. Unlike mainstream aesthetic preference research in empirical aesthetics, I claim that the subject’s aesthetic preference constitution requires the lived experience of the bodily conditions of meaning constitution through the conscious experience of the subjectively aroused lived body. The implausibility of the mind/body dichotomy of current aesthetic preference research is highlighted. (shrink)

BackgroundDespite severe cognitive dysfunction in Alzheimer's disease, aesthetic preferences in AD patients seem to retain some stability over time, similarly to healthy controls. However, the underlying mechanisms of aesthetic preference stability in AD remain unclear. We therefore aimed to study the role of emotional valence of stimuli for stability of aesthetic preferences in patients with AD compared to cognitively unimpaired elderly adults.MethodsFifteen AD patients score 12–26) without visual impairment and/or psychiatric disorder, as well as 15 healthy (...) controls without cognitive impairment matched in age, sex, art interest and highest level of education were included in this study. All participants were asked to rank-order eight artworks per stimulus category according to their preference twice with a 2-week span in-between. Based on these two rankings a preference change score was calculated. In order to assess explicit recognition memory of the artworks in the second testing session, four artworks of each stimulus category used in the preference ranking task were presented together with a content-matched distractor artwork painted by the same artist. Participants had to indicate which of the stimuli they had seen 2 weeks previously.ResultsAD patients [MMSE = 18.9 ± 3.6; Age = 85.4 ± 6.9; 33.3% male] had no explicit recognition memory of the artworks, whereas healthy controls [MMSE = 27.7 ± 1.4; Age = 84.3 ± 6.7; 33.3% male] correctly recognized 85% of stimuli after 2 weeks. AD patients had equally stable preferences compared to the control group for negative artworks, but less stable preferences for positive and neutral images.ConclusionEven in cognitively impaired AD patients, aesthetic preference for negatively-valenced artworks remains relatively stable. Our study provides novel evidence that AD patients may have a somewhat preserved implicit valence system for negative compared to neutral or positive visual information, especially in the domain of aesthetics. However, more studies need to further uncover the details of the underlying neurocognitive mechanisms of preference stability in pathological aging. (shrink)

Although mathematicians often use it, mathematical beauty is a philosophically challenging concept. How can abstract objects be evaluated as beautiful? Is this related to their visualisations? Using an example from graph theory, this paper argues that, in making aesthetic judgements, mathematicians may be responding to a combination of perceptual properties of visual representations and mathematical properties of abstract structures; the latter seem to carry greater weight. Mathematical beauty thus primarily involves mathematicians’ sensitivity to aesthetics of the abstract.

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental (...) aesthetics, and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)

The article touches upon the problem of the influence of Anna Ioannovna's personal qualities on the formation of the Russian musical theater. Despite the fact that historians generally critically evaluate the results of the reign of this tsarina, her contribution to the development of Russian musical theater was significant and, according to the author, not fully appreciated. According to the researchers, it was thanks to the initiatives of Peter the Great's niece that opera seria came to Russia and reigned for (...) many years. However, the question "was it Anna Ioannovna's merit that after her reign, in the last quarter of the XVIII century, the opera art in Russia experienced an upsurge?" was not raised. The scientific novelty of the study consists in establishing a causal relationship between the aesthetic preferences of the Empress and the musical and historical processes that led to the birth of Russian opera over several decades. The paper uses methods of analysis and synthesis of the found historical evidence, taking into account the works of domestic and foreign scientists. The main conclusions of the study are the reassessment of the historical role of Anna Ioannovna as the initiator of the development of the national musical theater. In fact, the Empress played one of the key roles in the preparation of the Russian Enlightenment. The information given in the article has practical significance and can be recommended for use in the educational process as an addition to lecture materials. (shrink)

Philosophical aesthetics is an area in which many strands of contemporary philosophical thinking meet. The contributors to this volume are aware of the wider logical, epistemological, moral and metaphysical implications raised by conceptual problems specific to aesthetics. Three themes recur and are taken up from different angles in several of the papers: pleasure – its nature and role in the experience of art and beauty; preference – figuring prominently in aesthetic appraising, appreciating and judging; and value – (...) class='Hi'>aesthetic value in particular, and the status of value in general. As these themes interweave, the complexities of aesthetics bring into focus some of the central issues in the philosophy of mind. The authors argue their cases with professional expertise and perceptive understanding of the arts, making significant and original contributions. This book should be of interest not only to philosophers but also to the readers who know, care and theorise about the arts. All the essays were commissioned for this volume, which is part of an informal series of books emerging from meetings sponsored by the Thyssen Foundation. (shrink)

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses (...) the Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

Fractal patterns offer one way to represent the rough complexity of the natural world. Whilst they dominate many of our visual experiences in nature, little large-scale perceptual research has been done to explore how we respond aesthetically to these patterns. Previous research (Taylor et al., 2011) suggests that the fractal patterns with mid-range fractal dimensions have universal aesthetic appeal. Perceptual and aesthetic responses to visual complexity have been more varied with findings suggesting both linear (Forsythe et al., 2011) (...) and curvilinear (Berlyne, 1970) relationships. Individual differences have been found to account for many of the differences we see in aesthetic responses but some, such as culture, have received little attention within the fractal and complexity research fields. This 2-study paper aims to test preference responses to fractal dimension and visual complexity, using a large cohort (N=443) of participants from around the world to allow universality claims to be tested. It explores the extent to which age, culture and gender can predict our preferences for fractally complex patterns. Following exploratory analysis that found strong correlations between fractal dimension and visual complexity, a series of linear mixed-effect models were implemented to explore if each of the individual variables could predict preference. The first tested a linear complexity model (likelihood of selecting the more complex image from the pair of images) and the second a mid-range fractal dimension model (likelihood of selecting an image within mid-range). Results show that individual differences can reliably predict preferences for complexity across culture, gender and age. However, in fitting with current findings the mid-range models show greater consistency in preference not mediated by gender, age or culture. This paper supports the established theory that the mid-range fractal patterns appear to be a universal construct underlying preference but also highlights the fragility of universal claims by demonstrating individual differences in preference for the interrelated concept of visual complexity. This highlights a current stalemate in the field of empirical aesthetics. (shrink)

This chapter explores reasons to doubt the defensibility of the “weak theory of sustainability” that informs and justifies the use of cost-benefit analysis by environmental regulators. As the argument reveals, inasmuch as the weak theory equates what is sustainable with what sustains the satisfaction of human preferences, it has the surprising philosophical wherewithal to make climate-changing activities sustainable, at least in principle. This would be so if human ingenuity made possible the replacement of ecosystem services with technological alternatives. And it (...) would be particularly so if the aesthetic goods that derive from nature – goods which are resistant to quantification – are excluded from environmental cost-benefit analyses. But it is also true if those aesthetic goods are reduced to mere human preferences that can be measured through indirect market-based means, for aesthetic preferences are remarkably adaptive.Inasmuch as people can be expected to come to appreciate landscapes degraded by climate change, those who defend a weak theory of sustainability can expect that climate change will not long be at odds with what people find aesthetically pleasing. However, as the growing literature on “nature-deficit disorder” suggests, while aesthetic preferences may be elastic, aesthetic needs are not. As climate change progressively strips us of nature’s goods, we will lose the ability to meet crucial aesthetic needs. The irony is clear: As our aesthetic preferences bend towards the acceptance of ecological loss, we will predictably lose our preferences for meeting our own enduring aesthetic needs. We can thus expect climate change to cause us to prefer what we do not need and to need what we do not prefer. And this implies that climate change is the reductio ad absurdum of the weak theory of sustainability that dominates contemporary environmental regulation. (shrink)

Legal moralists hold that the immorality of an action is a sufficient reason for the state to prevent it. Liberals in the tradition of Mill generally reject legal moralism. However, Larry Alexander has recently developed an argument that suggests that a class of legal restrictions on freedom that most liberals endorse is, and perhaps can only be, justified on moralistic grounds. According to Alexander, environmental restrictions designed to preserve nature or beauty are forms of legal moralism. In this paper, I (...) explore two liberal lines of response to Alexander’s argument. The first argues that an aesthetic interest is among our basic legally protectable interests. This argument claims that environmental and other regulations designed to protect beauty and nature are justified in order to prevent setbacks to this aesthetic interest. The second focuses on a democratic conception of the public interest. It holds that democratic communities are entitled, through their institutions, to shape the community and environment they live in. On this view, the community need not appeal to moralism to justify its adoption of environmental regulations, since in adopting such regulations it is simply enacting its collective preferences. On these grounds, I claim that Alexander’s case for the claim that aesthetic regulations can only be justified on moralistic grounds is much weaker than he takes it to be. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact (...) of moral changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, (...) in particular to his Notebooks, Bartalesi and Portera attempt to provide an alternative explanation for the emergence and development of human aesthetic preferences, beyond the dichotomy of nature and culture. (shrink)

Wittgenstein offers three objections to the idea of aesthetics as a branch of psychology: (i) Statistical data about people’s preferences have no normative force. (ii) Artistic value is not instrumental value, a capacity to produce independently identifiable – and scientifically measurable – psychological effects. (iii) While psychological investigations may bring to light the causes of aesthetic preferences, they fail to provide reasons for them. According to Wittgenstein, aesthetic explanations (unlike scientific explanations) are poignant synoptic representations of aspects of (...) a work, and the criterion of success of an aesthetic explanation is that it satisfies the addressee. He repeatedly remarked that they resemble philosophical explanations, which also try to dispel puzzlement or confusion. The difference, however, is that whereas in philosophy we deal with general conceptual problems, aesthetic explanations typically concern individual responses to particular works of art. (shrink)

In this article we try to give a philosophically reflected introductory overview of the current theoretical developments in the field of evolutionary aesthetics. Our aim is not completeness. Rather, we try to depict some of the central assumptions and explanatory tools frequently used in evolutionary accounts of human aesthetical preferences and address a number of currently debated, open research questions.

Internal coherence is of great importance for how we think about appreciating objects of aesthetic worth. A disagreement between what we judge to be worthy and what we affectively favor can prevent us from properly grasping its value. However, it is also assumed in the aesthetic domain that our taste changes over time, jeopardising such coherence constraint. These changes can lead to a mismatch between new aesthetic judgments and old aesthetic preferences. This chapter explores a number (...) of issues that emerge from this tension. Using Taylor Swift’s re-recording as a case study, I will explore the relation between fan loyalty and personal authenticity, as well as the role of biographical taste in the reception of these newly recorded albums among Swift’s long-time fanbase. (shrink)

Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.

Professor Gombrich's last book and first narrative work in over 20 years.

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?

Evolutionary aesthetics (EA) investigates the origins and evolution of aesthetic preferences and artistic behaviors, along with the underlying capacities that support these preferences and behaviors. EA is a multidisciplinary approach that intersects various disciplines – e.g. evolutionary psychology, biology, neurosciences, art history, archeology, anthropology, philosophical aesthetics – providing a comprehensive framework for understanding the deep-rooted biological and evolutionary underpinnings of human aesthetic preferences and artistic expressions. Central to EA, in fact, is the exploration of when, how and why (...) aesthetic preferences and artistic behaviors originated in human history, as well as understanding whether these behaviors are evolutionary adaptations, by-products of evolutionary processes, or nonbiological cultural products (Killin 2021; Richards 2022). (shrink)

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited (...) research has been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

The purpose of this paper is to introduce everyday aesthetics in education. First, it presents everyday aesthetics as a subdiscipline within philosophical aesthetics, that revisits sensory perception as the backdrop of all experience, claims ordinary life is a proper venue for aesthetic inquiry, and problematizes the impact aesthetic preferences have on habitual decisions. Second, the paper argues that among the diverse matters students learn in school, they learn—explicitly or implicitly—what and how to perceive, as well as the pedagogical (...) purposes of daily perception. School models the relationships that students will develop between what they perceive, what they think about it, and how they act accordingly. Next, the paper elaborates on the notions of “school aesthetic matrixes” and “space and place in school”. School aesthetic matrixes refer to perceptual patterns that allow characterizing relationships between daily perception and the pedagogical project of a school. They manifest through expressions such as prison school, home school, mall school, etc. Space and place in school allude to concomitant experiences, of corporeal basis, that allow describing how we inhabit the world. What distinguishes them is the approach each one gives to the senses and the body. The paper concludes by calling attention to the comprehension and role of perception in education, urging to mind the aesthetic-pedagogical character that students develop throughout 12 years of schooling. Ultimately, the key relationships we develop with ourselves, others, and the world, entail a basic perceptual dimension that can be educated to become more purposefully and integrally present in life. (shrink)

Ethical questions normally arise in sport because its participants are human moral agents and because its practice community entails the observance of rules and responsibilities that humans generally owe one another in a social practice of voluntary competition. Since nature sports are not defined by this kind of inter-agential activity, it would appear that there are no comparable ethical constraints on their pursuit. This paper considers conflicts of preference versus right between humans, how these are resolved, and whether these (...) rights are relevant in assessment of nature sport activity vis-à-vis nonhuman creatures. Relying on a goods perspective instead of a rights framework, via Korsgaard, I argue against an assumption that human preference is sufficient to override consideration of nonhuman animals’ functional goods. (shrink)

Ethical questions normally arise in sport because its participants are human moral agents and because its practice community entails the observance of rules and responsibilities that humans generally owe one another in a social practice of voluntary competition. Since nature sports are not defined by this kind of inter-agential activity, it would appear that there are no comparable ethical constraints on their pursuit. This paper considers conflicts of preference versus right between humans, how these are resolved, and whether these (...) rights are relevant in assessment of nature sport activity vis-à-vis nonhuman creatures. Relying on a goods perspective instead of a rights framework, via Korsgaard, I argue against an assumption that human preference is sufficient to override consideration of nonhuman animals’ functional goods. (shrink)

The article argues that although all scholars within aesthetics basically know and recognize it, there is a tendency in many of its traditions to forget or to underestimate the importance of the aesthetic judgment. With Thierry de Duve’s short paper “Why Kant got it Right” as its point of departure, this importance is discussed. Not only its importance in aesthetic relations and to aesthetics as a discipline, but also in a broader sense, through the contribution to the overall (...) social cohesion of society, offered by aesthetic judgments. All judgments are pronounced as-if a shared scale of aesthetic preferences did exist. Judgments are addressed to communities, to the notion of a joint “we”, and thus they do participate in the creation and the maintenance of the social as such. Also professional aesthetic critique, including art critique, should be aware of that, since even historically achieved differentiations and divisions of labour may be lost again if not being developed and kept up to date. (shrink)

This article addresses both philosophers of science and process philosophers. It shows that the acceptance of Einstein's general theory of relativity by British physicists in the early 1920s, and their rejection of Whitehead's experimentally indistinguishable theory of gravity, was a matter not only of empirical evaluation but also of aesthetic preference. To philosophers of science it offers a historical case study illustrating the entangled roles of empirical and aesthetic criteria in theory evaluation. To process philosophers it offers (...) an answer to the question of why Whitehead's alternative rendering of Einstein's general relativity has been neglected both by the majority of physicists, and by the majority of philosophers. (shrink)

How do we come to like the things that we do? Each one of us starts from a relatively similar state at birth, yet we end up with vastly different sets of aesthetic preferences. These preferences go on to define us both as individuals and as members of our cultures. Therefore, it is important to understand how aesthetic preferences form over our lifetimes. This poses a challenging problem: to understand this process, one must account for the many factors (...) at play in the formation of aesthetic values and how these factors influence each other over time. A general framework based on basic neuroscientific principles that can also account for this process is needed. Here, we present such a framework and illustrate it through a model that accounts for the trajectories of aesthetic values over time. Our framework is inspired by meta-analytic data of neuroimaging studies of aesthetic appraisal. This framework incorporates effects of sensory inputs, rewards, and motivational states. Crucially, each one of these effects is probabilistic. We model their interactions under a reinforcement-learning circuitry. Simulations of this model and mathematical analysis of the framework lead to three main findings. First, different people may develop distinct weighing of aesthetic variables because of individual variability in motivation. Second, individuals from different cultures and environments may develop different aesthetic values because of unique sensory inputs and social rewards. Third, because learning is stochastic stemming from probabilistic sensory inputs, motivations, and rewards, aesthetic values vary in time. These three theoretical findings account for different lines of empirical research. Through our study, we hope to provide a general and unifying framework for understanding the various aspects involved in the formation of aesthetic values over time. (shrink)

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical and asymmetrical sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one (...) group of participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure. (shrink)

Research indicates that nature offers many physical and mental health benefits, including restoration – or recovery from mental fatigue. However, questions remain about what exactly in one's environment is experienced as restorative and why. Bridging environmental aesthetics, environmental psychology and cultural studies, this study establishes a connection between landscape and mindscape as seen, for instance, in the ways in which an orderly environment is interpreted as an orderly state of mind and vice versa. Using data drawn from a qualitative survey (...) targeting expatriate Finns, the article mobilises content analysis to interpret the results and concludes that a ‘favourite place’ is aesthetically appealing, enables actions that are experienced as restorative and is as much an interpretation of a space as a physical place. (shrink)

In this paper we sketch a new version of aesthetic expressivism. We argue that one advantage of this view is that it explains various putative norms on the formation and revision of aesthetic judgement. We begin by setting out our proposed explananda and a sense in which they can be understood as governing the correct response to putative higher-order evidence in aesthetics. We then summarise some existing discussions of expressivist attempts to explain these norms, and objections raised to (...) them. This will allow us to identify the pitfalls that a good expressivist explanation needs to avoid. Finally, we sketch our preferred version of aesthetic expressivism which includes as a crucial part a hypothesis concerning the distinctive expressive function of aesthetic practice. We then consider how this theory can explain the putative aesthetic norms whilst avoiding the previous objections. (shrink)