Richard A. Richards – författare

This book bridges the gap between the many insights into art provided by research in evolutionary theory, psychology and neuroscience and those enduring normative issues best addressed by philosophy. The sciences have helped us understand how art functions, our art preferences, and the neurological systems underlying our engagement with art. But we continue to rely on philosophy to tell us what is truly good in art, how we should engage with art, and the conceptual basis for this engagement. Naturalized Aesthetics: A Scientific Framework for the Philosophy of Art integrates a systematic and comprehensive naturalism, grounded in the sciences, with an "ecology" of art. It shows how the environments in which we make and experience art – our "engineered art niches" – affect the practice and experience of art and generate normativity – the goods and the shoulds – in our engagement with art. There are, in effect, two "streams" of normativity, according to this book: a niche-dependent, social, impersonal and objective stream and a niche-independent, individual, personal and subjective stream. Recognition of these two streams allows us to make progress in long-standing and unresolved philosophical disputes about how to interpret, evaluate and conceive art.Key Features:Provides a structured and critical introduction to the scientific accounts of art based on evolutionary thinking, psychology and neuroscience.Develops an "ecology" of art based on the insight that we engage with art in engineered niches.Presents a naturalistic account of normativity based on the recognition of two streams: a niche-dependent, social, impersonal and objective stream; and a niche-independent, individual, personal and subjective stream.Serves as an introduction and critical analysis of the debates about the interpretation, evaluation and definitions of art.

There is long-standing disagreement among systematists about how to divide biodiversity into species. Over twenty different species concepts are used to group organisms, according to criteria as diverse as morphological or molecular similarity, interbreeding and genealogical relationships. This, combined with the implications of evolutionary biology, raises the worry that either there is no single kind of species, or that species are not real. This book surveys the history of thinking about species from Aristotle to modern systematics in order to understand the origin of the problem, and advocates a solution based on the idea of the division of conceptual labor, whereby species concepts function in different ways - theoretically and operationally. It also considers related topics such as individuality and the metaphysics of evolution, and how scientific terms get their meaning. This important addition to the current debate will be essential for philosophers and historians of science, and for biologists.

This book bridges the gap between the many insights into art provided by research in evolutionary theory, psychology and neuroscience and those enduring normative issues best addressed by philosophy. The sciences have helped us understand how art functions, our art preferences, and the neurological systems underlying our engagement with art. But we continue to rely on philosophy to tell us what is truly good in art, how we should engage with art, and the conceptual basis for this engagement. Naturalized Aesthetics: A Scientific Framework for the Philosophy of Art integrates a systematic and comprehensive naturalism, grounded in the sciences, with an "ecology" of art. It shows how the environments in which we make and experience art – our "engineered art niches" – affect the practice and experience of art and generate normativity – the goods and the shoulds – in our engagement with art. There are, in effect, two "streams" of normativity, according to this book: a niche-dependent, social, impersonal and objective stream and a niche-independent, individual, personal and subjective stream. Recognition of these two streams allows us to make progress in long-standing and unresolved philosophical disputes about how to interpret, evaluate and conceive art.Key Features:

Provides a structured and critical introduction to the scientific accounts of art based on evolutionary thinking, psychology and neuroscience. Develops an "ecology" of art based on the insight that we engage with art in engineered niches. Presents a naturalistic account of normativity based on the recognition of two streams: a niche-dependent, social, impersonal and objective stream; and a niche-independent, individual, personal and subjective stream. Serves as an introduction and critical analysis of the debates about the interpretation, evaluation and definitions of art.

This book bridges the gap between the many insights into art provided by research in evolutionary theory, psychology and neuroscience and those enduring normative issues best addressed by philosophy. The sciences have helped us understand how art functions, our art preferences, and the neurological systems underlying our engagement with art. But we continue to rely on philosophy to tell us what is truly good in art, how we should engage with art, and the conceptual basis for this engagement. Naturalized Aesthetics: A Scientific Framework for the Philosophy of Art integrates a systematic and comprehensive naturalism, grounded in the sciences, with an "ecology" of art. It shows how the environments in which we make and experience art – our "engineered art niches" – affect the practice and experience of art and generate normativity – the goods and the shoulds – in our engagement with art. There are, in effect, two "streams" of normativity, according to this book: a niche-dependent, social, impersonal and objective stream and a niche-independent, individual, personal and subjective stream. Recognition of these two streams allows us to make progress in long-standing and unresolved philosophical disputes about how to interpret, evaluate and conceive art.Key Features:

Provides a structured and critical introduction to the scientific accounts of art based on evolutionary thinking, psychology and neuroscience. Develops an "ecology" of art based on the insight that we engage with art in engineered niches. Presents a naturalistic account of normativity based on the recognition of two streams: a niche-dependent, social, impersonal and objective stream; and a niche-independent, individual, personal and subjective stream. Serves as an introduction and critical analysis of the debates about the interpretation, evaluation and definitions of art.

This book bridges the gap between the many insights into art provided by research in evolutionary theory, psychology and neuroscience and those enduring normative issues best addressed by philosophy. The sciences have helped us understand how art functions, our art preferences, and the neurological systems underlying our engagement with art. But we continue to rely on philosophy to tell us what is truly good in art, how we should engage with art, and the conceptual basis for this engagement. Naturalized Aesthetics: A Scientific Framework for the Philosophy of Art integrates a systematic and comprehensive naturalism, grounded in the sciences, with an "ecology" of art. It shows how the environments in which we make and experience art – our "engineered art niches" – affect the practice and experience of art and generate normativity – the goods and the shoulds – in our engagement with art. There are, in effect, two "streams" of normativity, according to this book: a niche-dependent, social, impersonal and objective stream and a niche-independent, individual, personal and subjective stream. Recognition of these two streams allows us to make progress in long-standing and unresolved philosophical disputes about how to interpret, evaluate and conceive art.Key Features:Provides a structured and critical introduction to the scientific accounts of art based on evolutionary thinking, psychology and neuroscience.Develops an "ecology" of art based on the insight that we engage with art in engineered niches.Presents a naturalistic account of normativity based on the recognition of two streams: a niche-dependent, social, impersonal and objective stream; and a niche-independent, individual, personal and subjective stream.Serves as an introduction and critical analysis of the debates about the interpretation, evaluation and definitions of art.

Modern biological classification is based on the system developed by Linnaeus, and interpreted by Darwin as representing the tree of life. But despite its widespread acceptance, the evolutionary interpretation has some problems and limitations. This comprehensive book provides a single resource for understanding all the main philosophical issues and controversies about biological classification. It surveys the history of biological classification from Aristotle to contemporary phylogenetics and shows how modern biological classification has developed and changed over time. Readers will also be able to see how biological classification is in part a consequence of human psychology, language development and culture. The book will be valuable for student readers and others interested in a range of topics in philosophy and biology.

There is long-standing disagreement among systematists about how to divide biodiversity into species. Over twenty different species concepts are used to group organisms, according to criteria as diverse as morphological or molecular similarity, interbreeding and genealogical relationships. This, combined with the implications of evolutionary biology, raises the worry that either there is no single kind of species, or that species are not real. This book surveys the history of thinking about species from Aristotle to modern systematics in order to understand the origin of the problem, and advocates a solution based on the idea of the division of conceptual labor, whereby species concepts function in different ways - theoretically and operationally. It also considers related topics such as individuality and the metaphysics of evolution, and how scientific terms get their meaning. This important addition to the current debate will be essential for philosophers and historians of science, and for biologists.

Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don''t obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered niches, can help us better understand the full range of art behaviors, their normativity and conceptual basis.

Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered niches, can help us better understand the full range of art behaviors, their normativity and conceptual basis.

Modern biological classification is based on the system developed by Linnaeus, and interpreted by Darwin as representing the tree of life. But despite its widespread acceptance, the evolutionary interpretation has some problems and limitations. This comprehensive book provides a single resource for understanding all the main philosophical issues and controversies about biological classification. It surveys the history of biological classification from Aristotle to contemporary phylogenetics and shows how modern biological classification has developed and changed over time. Readers will also be able to see how biological classification is in part a consequence of human psychology, language development and culture. The book will be valuable for student readers and others interested in a range of topics in philosophy and biology.

Modern biological classification is based on the system developed by Linnaeus, and interpreted by Darwin as representing the tree of life. But despite its widespread acceptance, the evolutionary interpretation has some problems and limitations. This comprehensive book provides a single resource for understanding all the main philosophical issues and controversies about biological classification. It surveys the history of biological classification from Aristotle to contemporary phylogenetics and shows how modern biological classification has developed and changed over time. Readers will also be able to see how biological classification is in part a consequence of human psychology, language development and culture. The book will be valuable for student readers and others interested in a range of topics in philosophy and biology.