2014
DOI: 10.1111/jaac.12059
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The Emergence of the Modern Mind: An Evolutionary Perspective on Aesthetic Experience

Abstract: On the basis of archaeological data and cognitive research, this article proposes an evolutionary story about aesthetic experience, arguing three intertwined theses. Aesthetic experience is adaptive; that is, it represents a specific implementation of the epistemic goal of knowing. It refunctionalizes antecedents and precursors: play and dreaming, technology and the ability to manipulate, and proto-aesthetic elements and aesthetic preferences. Mind and aesthetic experience co-evolve; that is, aesthetic experie… Show more

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Cited by 9 publications
(23 citation statements)
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References 5 publications
(5 reference statements)
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“…In ancient times, when the concept of art was absent, elements of creativity were already being incorporated into the production of ceremonial artefacts and daily essentials. It is even hypothesized that aesthetic experience stimulates the development of the conceptual self, thereby supporting a consistent self-image that satisfies the non-stop process of the pursuit of the self [45]. Therefore, aesthetic experience may promote an individual's advanced cognitive development to a certain extent.…”
Section: Identity Discovery and Formation Through Aesthetic Experiencementioning
confidence: 99%
“…In ancient times, when the concept of art was absent, elements of creativity were already being incorporated into the production of ceremonial artefacts and daily essentials. It is even hypothesized that aesthetic experience stimulates the development of the conceptual self, thereby supporting a consistent self-image that satisfies the non-stop process of the pursuit of the self [45]. Therefore, aesthetic experience may promote an individual's advanced cognitive development to a certain extent.…”
Section: Identity Discovery and Formation Through Aesthetic Experiencementioning
confidence: 99%
“…Although Desideri says that the mechanism is not innate and that his theory resists contrasting innativism (naturism) with historicism (nurturism), and universalism with relativism, he does not enough explain to what extent exactly the mechanism could be both innate and cultural, or universal and relative [12] (pp. 31,36). I shed more light on these issues.…”
Section: Aesthetic Gadget In Transmissionmentioning
confidence: 96%
“…According to some current views, even the earliest indications of aesthetic value, such as bodily adornments, geometric rock patterns, and other images, often carry with them a reference to human sociality and thus, mindreading-and mindsharing [33] (p. 229], [38],. According to the hypothesis of Gianluca Consoli, mindreading is a condition for aesthetic experience, because these two coevolved [36] (p. 37). 22 An artifact would be incomprehensible as an aesthetic object without recursively attaching intentional mental state of the maker to it [36] (p. 48).…”
Section: Aesthetic Gadget In Transmissionmentioning
confidence: 99%
“…60 Regarding this, the central point to emphasize here is that even the few people who deny this value acknowledge that aesthetic experience is a universal feature of the human species and that it is intrinsically characterized by the constant drive to innovate. 61 The available findings show that, at least since the Upper Paleolithic, so-called 'trans-historical' and 'trans-cultural' art, that is, the art realized first in archaic and then in pre-modern societies, emerged as a deliberate technical extension of aesthetic experience and its internal drive to innovate. 62 It is undoubtedly true that the style of cave art remained static over millennia and that the traditional art of present-day hunter-gatherers tends to be deeply conservative.…”
Section: Definition and Identification: From Ontology To Common Smentioning
confidence: 99%