tailieunhanh - Darwinian Aesthetics Informs Traditional Aesthetics

Another domain located, in part, in the realm beyond rationality and control is the study of learners’ interest. The study of interest has exam- ined the degree to which learners’ are enjoying an activity or topic, pre- fer one thing rather than another, and want to continue with an activity in the near and distant future. Of particular relevance to this essay is the attention given to the inspired, emergent quality of engaging experi- ences (Renninger, Hidi, & Krapp, 1992). Their constructs of situational interest (a characteristic. | Darwinian Aesthetics Informs Traditional Aesthetics Randy Thornhill Introduction This paper treats the topics that have been of long interest to aestheticians. Traditional aesthetics . aesthetics in philosophy is broad and diverse including such topics as the beauty of ideas as well as the beauty of body form natural landscapes scents ideas and so on. Some colleagues have suggested that I provide a succinct definition of aesthetics. It is not possible however to provide an objective definition based on Darwinian theory. As D. Symons pers. comm. put it . T he whole notion of aesthetics as a natural domain . as a domain that carves nature at a joint is misguided. All adaptations are aesthetic adaptations because all adapta- tions interact in some way with the environment external or internal and prefer certain states to others. An adaptation that instantiates the rule prefer productive habitats is no more or less aesthetic than an adaptation that instantiates the rule prefer a particular blood pressure . Although there is no way to objectively define the aesthetic domain there is value I believe in treating the various topics of traditional aesthetics in a modern Darwinian adaptationist framework. The Darwinian theory of brain design whether human or nonhuman is that of many functionally specific psychological adaptations. Just as human blood pressure regulation and habitat selection are guided by different functionally specific psychological adaptations the traditional topics of aesthetics each arise from fundamentally different psychological adaptations. It is the many psychological adaptations that underlie the diversity of aesthetic experiences of interest to aestheticians that I address. Darwinian aesthetics has great promise for elucidating the design of the psychological adaptations involved in these experiences. The starting point for the Darwinian theory of aesthetics I offer is as follows. Beauty experiences are unconsciously realized avenues to high

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