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The importance of an author can be evaluated by the extent to which his theoretical contribution transforms a certain area of knowledge: major researchers create new vistas. This certainly applies to Lev Vygotsky (1896–1934), one of the most brilliant authors of contemporarypsychology. His work, owing to its originality, is of epistemological interest to several areas of knowledge. In fact, Vygotsky was at the center of a historical time of change in twentieth-century Russia, in which Mikhail Bakhtin, Roman Jakobson, (...) Serguei Eisenstein, Alexander Luria, and Yuri Lotman took part. Their theoretical proposals had repercussions in several areas of knowledge: in literature, semiotics, film, and .. (shrink)

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This book moves toward building a new and more comprehensive theory of literature, philosophy,psychology, and art. The extremely popular work of Ken Wilber, unites the best of both western and eastern thought and affirms that the stages of consciousness, more refined than that of the reasoning mind, do exist.

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This book moves toward building a new and more comprehensive theory of literature, philosophy,psychology, and art. The extremely popular work of Ken Wilber, unites the best of both western and eastern thought and affirms that the stages of consciousness, more refined than that of the reasoning mind, do exist.

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This article argues that the so-called Charge fromPsychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is (...) applied. Therefore, it is not inherently problematic that definitions do not fit empirical data: a normative definition need not reflect how people categorize items as art. In the end, this article shows the significance of empirical data for definitions of art. (shrink)

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The research programs of empirical aesthetics and neuroaesthetics have reflected deep concerns about viewers' sensitivities to artworks' historical contexts by investigating the impact of two factors on art perception: viewers' developmental (and educational) histories and the contextual histories of artworks. These considerations are consistent with data demonstrating that art perception is underwritten by dynamically reconfigured and evolutionarily adapted neural and psychological mechanisms.

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How did the human brain evolve so that consciousness of art could develop? In ThePsychology 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)

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15세기에 상상력은 아직 예술의 전문이론가나 예술가들 사이에서 관심의 대상이 되지 못했다. 급변화를 통해 상상력에 관한 관심이 부상하는 것은 전성기 르네상스로 들어서는 16세기이다. 본 논문의 질문은 어떻게 관심을 거의 받지 못했던 이 주제로부터, 또한 개념적인 자료가 부족한 조건에서, 16세기가 상상력의 개념을 발전시켰을까? 하는 것이다. 이 질문에 관계해선 세 개의 주요 출처가 있다. (1) 아리스토텔레스의 심리학에서 시작해 중세 중동학자들의 능력심리학에서 발전한 상상력의 철학적-심리학적 출처, (2) 플라톤에서 중세의 단테(절정)에 이르는 신비주의적 관점의 출처, (3) 윤리적이고 병리적인 출처가 그것이다. 본 연구는 그중 앞의 두 개 (...) 출처를 연구하는 데 목적을 둔다. 시대적으로는 고대에서 중세를 거쳐 르네상스 초에 이르는 구간에 해당한다. 이 두 출처가 제공하는 두 개 노선의 상상력, 심리학의 상상력과 예술에서 모색한 상상력은 서로 다른 발전의 길을 걷는다. 두 개념이 종합의 양상을 보이는 것은 16세기에 들어서의 일이다. 본 연구는 고대에서 출발해 16세기에 들어서기까지(16세기 이전까지)의 상상력 개념의 이중적인 발전의 양상을 연구한다. (shrink)

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Some works of conceptual art require deception for their appreciation—deception of the viewer of the work. Some experiments in socialpsychology equally require deception— deception of the participants in the experiment. There are a number of close parallels between the two kinds of deception. And yet, in spite of these parallels, the art world, artists, and philosophers of art, do not seem to be troubled about the deception involved, whereas deception is a constant source of worry for social psychologists. (...) Intuitively, each of these responses might seem appropriate for its sphere, but it is not easy to see what grounds these intuitions. (shrink)

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

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Examples of propaganda abound in contemporary society. Even though propaganda is increasingly prevalent in modern society, this phenomenon has received scant philosophical attention. This is particularly true of philosophy of art even as art, from posters and murals to films and novels, has been instrumental in the dissemination of propaganda. My dissertation develops a new model of propaganda to account for the phenomenon of art propaganda. I call this model the epistemic merit model, because I argue that propaganda essentially lacks (...) epistemic merit. ;My project proceeds in four parts: offer a diagnosis of why propaganda has virtually escaped philosophical scrutiny, survey the field of propaganda studies in the disciplines of sociology, socialpsychology, and communication theory, perform a conceptual analysis of propaganda, and show how my new model is particularly well-suited to cases of art propaganda. (shrink)

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From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject topsychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science ofpsychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the (...) investigated situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of generalpsychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. Thepsychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And socialpsychology relates the artist and his contribution to his fellow men. A systematic book on thepsychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution ofpsychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

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Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

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Philosophers and psychologists both investigate the self, but often in isolation from one another. this book brings together studies by philosophers and psychologists in an exploration of the self and its function. It will be of interest to all those involved in philosophy,psychology and sociology.

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From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject topsychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science ofpsychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the (...) investigated situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of generalpsychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. Thepsychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And socialpsychology relates the artist and his contribution to his fellow men. A systematic book on thepsychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution ofpsychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

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In his new book, eminent psychologist - Daniel Stern, explores the hitherto neglected topic of 'vitality'. Truly a tour de force from a brilliant clinician and scientist, Forms of Vitality is a profound and absorbing book - one that will be essential reading for psychologists, psychotherapists, and those in the creative arts.

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Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show (...) that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenologicalpsychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art. (shrink)

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In this highly original and thought-provoking work the late Miller Mair puts forward his ideas for a newpsychology. First published in 1989, he deals with issues of fundamental importance to the future of apsychology guided by genuine enquiry and concern rather than mere professional self-interest. Crossing and re-crossing boundaries betweenpsychology, psychotherapy and philosophy, and between ‘science’ and ‘art’, he demonstrates the linkages between the personal and the impersonal, subject and object, inside and outside, with (...) a daring not previously risked by anyone working in the area. Dr Mair stresses the importance of a poetic approach inpsychology and psychotherapy, and the need to explore and understand the nature ofpsychology through an imaginative freedom of language. He emphasizes that a poetic awareness and attentiveness is fundamental to any pursuit of understanding of ourselves or others. This is a very personal book, concerned with _personal knowledge_, but it is meant for anyone who seeks to understand themselves and others, and what is involved in coming to such understanding. Focusing on ordinary human experience, and moving towards literary and artistic modes of expression, the author invites you to enter in, follow what _you_ think and feel, as he proposes a radical revision of much that is accepted inpsychology and in psychotherapy. (shrink)

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In this article, we aim to reflect on the problem of reality by examining the relationship between video games, theatre and technology. Games – particularly video games, which can be considered an artistic medium – always involve simulation and constant interaction between users or social actors. The simulated and imaginary framework that characterizes both games and video games, which is also present in theatre, appears to challenge a naïve conception of reality. Theatre, much like video games and unlike classical art (...) forms such as music, painting or literature, fosters deep engagement and offers a richer and more diverse quality of interaction. Drawing on Brenda Laurel’s hypotheses, we will explore how theatre, by incorporating the notions of performance and simulation, can serve as a valuable tool for investigating human-machine interaction. In particular, virtual reality devices and video games-based social networks, which rely on immersivity, have the potential to redefine interaction – but at the cost of further distancing human beings from reality. Given the suggestion to consider immersivity as a possible criterion for questioning the idea of reality in the relationship between science and art, it is essential to also examine the ethical dimensions that revolve around the issue of the virtual. (shrink)

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Every art encounter requires making predictions given that art is rife with uncertainty. What is it to appreciate art while relying on predictions, and to what consequences? I argue that art appreciation involves engaging our predictive systems in such a way as to correct predictive failure at least at some levels in the processing hierarchy of information that we receive from art works. That art appreciation involves predictive processing best explains the mechanism for cognizing art works in categories, cases of (...) appreciative failure, and why art appreciation is a form of valuing. To articulate the explanatory value of predictive processing for cognizing art works in categories, I introduce a sub-type of predictions that I call art-historical estimates – i.e., predictions that take as their object the temporal relationships between works and their place in art history – and identify their features within a broader typology of predictions and related mental structures such as schemas and scripts. I examine the way predictive processing explains the correction of predictive failure, and its consequences for the affective value that we attach to the appreciation of art. (shrink)

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This book brings together a collection of essays written by scholars inspired by Eugene Gendlin's work, particularly those interested in thinking with and beyond Gendlin for the sake of a global community facing significant crises. The contributors take inspiration from Gendlin's philosophy of the implicit, and his theoretical approach topsychology. The essays engage with Gendlin's ideas for our era, including critiques and corrections as well as extrapolations of his work. Gendlin himself worried that knowing about a problem is (...) too often conflated with actions that might lead to change; the essays in this book point to a form of understanding that is activated, an embodied and immediate way of thinking about today's problems. Throughout the volume, the contributors creatively engage with Gendlin's work and its applicability to the complex, pressing crises of our time: the Covid-19 pandemic, environmental/climate issues, racism, sexism, economic inequality, and other factors threatening human persons and communities. Gendlin's theoretical approach topsychology is naturally interdisciplinary, making this book an essential read for anyone interested in moving to the boundaries wherepsychology meets philosophy, theology, art, environmental studies, science, and technology, and much more. (shrink)

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This study provides a step by step explanation of André Malraux’s theory of art. Drawing on his major works, such as "The Voices of Silence" and "The Metamorphosis of the Gods," it examines topics such as the nature of artistic creation, thepsychology of our response to art, the birth of the notion of “art” itself and its transformation after Manet, the birth and death of the idea of beauty, the neglected question of the relationship between art and the (...) passage of time, the emergence of our “first universal world of art,” the contemporary role of the art museum and the musée imaginaire, and the contentious question of the relationship between art and history. -/- Rejecting negative criticisms from writers such as Maurice Merleau-Ponty and E. H. Gombrich, the study argues that Malraux offers us a theory of art that is fully coherent and highly illuminating. In addition, the analysis shows that he presents a radical challenge to the traditional explanations of art inherited from the Enlightenment that have dominated Western thinking for some three hundred years. In short, the study unveils a way of understanding art that is nothing short of an intellectual revolution. -/- The book is the English version of a study entitled André Malraux et l’Art: Une Révolution Intellectuelle published in French by Peter Lang in April 2021. (shrink)

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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 positivepsychology, 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 andpsychology. (shrink)

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Art appreciation often involves contemplation beyond immediate perceptual experience. However, there are challenges to incorporating such processes into a comprehensive theory of art appreciation. Can appreciation be captured in the responses to individual artworks? Can all forms of contemplation be defined? What properties of artworks trigger contemplation? We argue that such questions are fundamental to a psycho-historical framework for the science of art appreciation, and we suggest research that may assist in refining this framework.

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One of the more compelling features of Denis Dutton’s The Art Instinct is its theoretical parsimony. Utilizing what essentially amounts to one explanatory principle—that of Darwinian selection—Dutton advances a theory of aesthetics that is at once general enough to account for cross-cultural variations in artistic production and sufficiently nuanced to promote insights into individual artworks. In doing this, Dutton’s work could not offer a greater contrast to some of the more vocal trends in contemporary aesthetic theory, where ponderous theorizing and (...) rebarbative jargons have violently opposed the idea—otherwise so modest—that aesthetic activities might draw on the evolved capacities of the human imagination. On .. (shrink)

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