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• W8851690 abstract "Perhaps as a result of feminist and poststructuralist objections to essentialism and universalism, current philosophers of art have been reluctant to consider how research in biological sciences might contribute to theorizing about art. This reluctance is no doubt related to fact that many in humanities have come to regard science as invariably reductionist and as an enemy who will turn any invitation to collaborate into opportunity for a conquest of host territory. This suspicion, in turn, would seem to have institutional sanction in thinking that leads to establishing of separate disciplines and setting of boundaries between them, and yet this very thinking is in difficult to understand; for if objective is to foster progress within each discipline, then it would seem that best means for each to achieve credibility would be to find a respected ally whose research can support one's own ideas - or who can prove one's ideas faulty and thereby stimulate perspectival shifts. In any case, that philosophers of art have nothing to fear from science - and much to gain - is amply evidenced by work of one noted aesthetician, Susanne Langer. When Langer thought a scientific field might assist her explorations, she proceeded to know it; where it furnished evidence she sought, she gave it due credit, just as when it claimed too much she lambasted it with blistering objections. Thus in 1953, having produced her major work in philosophy of art, Feeling and Form, she found that her research on art theory raised intriguing questions about cognitive processes, leading her to begin a twenty-five year inquiry which ultimately resulted in her threevolumed Mind: An Essay on Human Feeling. In Feeling and Form, Langer had been concerned with way that art negotiates (22), and she argued that just as language expresses ideas of things and events, not their actuality, so art expresses ideas of not feelings themselves (59). In volume one of Mind, she elaborates on concept of feeling, explaining that it includes human conception, responsible action, rationality, knowledge (1:23). Reasoning for her is allied with feeling because it involves the process of building up insight into relations...too complex to be grasped by direct inspection (1:146). Where art conjoins with rationality, accordingly, is by virtue of way that elements of an artwork build up insight about feelings into relations which can - and which by their very nature - can be understood only in a non-discursive manner. Thus having conjectured that intellect is a...specialized, intensive feeling about intuitions (1:149), Langer is able further to suggest that if art is about then from art we can learn something about structure of rationality. In fact, one of her expressed concerns was to show the intimate relatedness of thought, emotion and symbolic expression (1:130n57). In following essay, my purpose is to explore how recent research in neuroscience provides support for Langer's view that art can inform our understanding of cognitive function and that art clarifies and organizes intuition itself (Feeling 397). I will begin with some general observations about nature and function of emotion, and then go on to outline some recent experiments in neuroscience and show how they relate to current theorizing about music and literature. In doing so, I hope also to provide evidence that argues for prematurity of attempts to dismiss categorically and totally validity of theories about essentialism and universalism. To appreciate way that an emotion can have a rational component, we need to bear in mind that its cognitive aspects may be something of which we are not aware, whereby feeling appears instead as merely a physical registering of an event. Moreover, until it results in illness, we often ignore, or do not attend to, what our bodies are trying to tell us. …" @default.
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• W8851690 date "1998-03-01" @default.
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• W8851690 title "The Arts, Emotion, and Current Research in Neuroscience" @default.
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