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Moderators
·Noga Arikha
·Gloria Origgi
Guest Panel
·Giorgio Biancorosso
·Mario Borillo
·Laura Bossi
·Nicolas Bullot
·Roberto casati
·Alain De Cheveigne
·Thi Bich Doan
·Jérôme Dokic
·Maurizio Ferraris
·Tamar Gendler
·Maurizio Giri
·Bernard Gortais
·Alain Grumbach
·Guillaume Hutzler
·Claude Imbert
·Andrew Kania
·Carlo Landini
·Paolo Leonardi
·Dominic Lopes
·Pascal Ludwig
·Patrizia Magli
·Pascal Mamassian
·Stephen Mc Adams
·Richard Minsky
·Amy Morris
·Nirmalangshu Mukherji
·Jérôme Pelletier
·Caterina Saban
·Marie-Catherine Sahut
·Marco Santambrogio
·Didier Sicard
·Barry Smith
·Dan Sperber
·Mark Stevens
·Bernard Stiegler
·Robert Williams
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Welcome to the Art and Cognition virtual conference. The event took place between November 2002 and February 2003 and is no longer active. However, all texts and discussions are archived and can be read.
The conference is organized by the Euro-edu Association and sponsored by DRRT Ile-de-France. In partnership with
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General discussion
Noga Arikha
Gloria Origgi
The moderators round up the virtual conference, offering a preliminary assessment of the main themes that have been raised by the papers and the discussions, and open a general debate with the speakers, participants and organizers.
Date of publication: 27 January 2003
Ambiguity and intention
David Cohen
Ambiguity is equally the hallmark of very fine and very poor art. More than any other quality (or defect) it engenders anxiety. This in turn invites the "intentional fallacy", for believing that an artist meant some awkwardness or oddity persuades of its expressive value.
Date of publication: 20 January 2003
The artwork and its creator
Alain Grumbach
New technologies allow for the simultaneous creation of artworks of a single, virtual support. This paper explores the process of collective creation in the pictorial domain and asks whether it can generate works of art.
Date of publication: 13 January 2003
Objects and aesthetic attention
Nicolas Bullot
This article puts forward an hypothesis on the aesthetic use of attention. Some artistic situations favour such a use of attention and may contribute to the conscious access to cognitive and emotional contents and effects, as well as to their discussion in the public sphere.
Date of publication: 6 January 2003
Beauty and the mind: lessons from Kant
John Armstrong
The study of art and cognition has historical roots in the work of Kant. He was the first philosopher to focus on the question: what exactly are the mental processes which occur when we find something beautiful - or impressive - as a work of art? My paper will explore some of the ways in which we can continue to learn from Kant's attempts to answer these questions.
Date of publication: 16 December 2002
The neurological basis of artistic universals
V.S. S. Ramachandran
We propose ten universal laws of art that cut across cultural boundaries and consider the manner in which hypernormal stimuli are used by artists to activate neurons more optimally than natural stimuli. In constructing this theory we bring together strands from ethology, neurophysiology and experimental psychology.
Date of publication: 9 December 2002
Pictorial composition and emotional
response
David Freedberg
What are the protocols for conducting an experiment on the relations between pictorial composition and emotional response? Underlying this question is the problem of establishing and defining correlations between particular kinds of compositions and particular emotional responses. We shall look at problems of evaluative criteria, modes and modality, parallel processing, in order to enquire how one moves from perception to emotion.
Date of publication: 2 December 2002
Art as enaction
Alva Noë
Art can perhaps make a theoretical contribution to the study of perceptual consciousness. Theoretical investigations of consciousness (whether in philosophy, psychology or neuroscience) need better methods for thinking about and understanding the qualitative character of experience. I try to suggest here a way of thinking about experience, on the one hand, and art, on the other, that opens up the possibility of genuine collaboration between art and science.
Date of publication: 25 November 2002
Postural sense and human figure in Renaissance art
francois quiviger
This paper focuses on the relationship between postural sense and the human figure, such as the latter has been codified, elaborated and represented in Renaissance art. It analyses how postural sense made possible artistic developments in which painting moved away from what one may call a cognitive naturalism and processed its own visual vocabulary.
Date of publication: 25 November 2002
Pictorial language
Avigdor Arikha
The language of painting is pictorial: not verbal but visual. It is sensed, not comprehended. But many art historians are increasingly concerned with what a painting represents, and not so much with its visual intricacies. This is an analogical sideline that leads away from art into cultural history that is probably at the root of the dominant confusion in art of our time. The nature of the pictorial language will be examined here.
Date of publication: 18 November 2002
The unity of the kind artwork
Roberto Casati
The concept of an artwork is unitary, in a way that transcends the differences between artistic media. This unity is puzzling. I programmatically explore two ways of cognitively account for the unity: a narrow way, according to which we are endowed with an artistic module, and a broad way, which requires that works of art are understood in the context of social interactions and practices.
Date of publication: 18 November 2002
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