Arts

The Distributed Truth-Telling Model Authors Nicolas J Bullot, Stephen W Enciso Abstract This article provides a philosophical response to the need for truth-telling about colonial history, focusing on the Australian context. The response consists in inviting philosophers and the public to engage in social-justice practices specified by a model called Distributed Truth-Telling (DTT), which integrates the historiography of injustices affecting Indigenous peoples with insights f

Authors William Forde Thompson, Nicolas J. Bullot, and Elizabeth Hellmuth Margulis Abstract Research has investigated psychological processes in an attempt to explain how and why people appreciate music. Three programsof research have shed light on these processes. The first focuses on the appreciation of musical structure. The second investigates self-oriented responses to music, including music-evoked autobiographical memories, the reinforcement of a sense of self, and ben

Authors Lee Harrop, Nicolas J. Bullot First and Second Paragraphs The audience of a work of art typically offers a plurality of interpretations of the work. Some of them enrich our connections with the work and its historical context. Other interpretations are problematic because they elicit responses that thwart fundamental artistic freedoms and human rights. The latter include responses promoting the destruction of cultural heritage and the persecution of artists acting as

Author Nicolas J. Bullot Abstract To introduce the reader to the philosophical debates about the science of the arts, I review existing research and discuss three philosophical theses. As a background claim, I begin with the co-dependence thesis , which states that dependence relations have tied arts and sciences together in the past and continue to interlink them in the current historical context. One area in which the co-dependence thesis is contested is the debate about th

Authors Amee D. Baird, Romane Abell, William Forde Thompson, Nicolas J. Bullot, Maggie Haertsch, and Kerry A. Chalmers Abstract There is increasing evidence of the benefits of music, in particular singing, for people with Parkinson’s disease (PD). Current research has primarily focused on vocal or motor symptoms. Our aim was to examine the immediate emotional effects of group singing in people with PD, and whether the type of music sung (familiar vs. unfamiliar songs) moderat

Authors Nicolas J. Bullot and Rolf Reber Abstract The Distancing-Embracing model does not have the conceptual resources to explain artistic misunderstandings and the emotional consequences of historical learning in the arts. Specifically, it suggests implausible predictions about emotional distancing caused by art schemata (e.g., misunderstandings of artistic intentions and contexts). These problems show the need for further inquiries into how historical contextualization mod

Authors Nicolas J. Bullot, William P. Seeley, and Stephen Davies Abstract To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions (if any) that scientific research can make to our understanding of art, including the contributions that cognitive science ca

Author Nicolas J. Bullot Abstract The psycho-historical theory of art posits that the functions of an artwork are effects of that artwork selected and reproduced because they fulfill humans’ mental and social needs. To develop this account, I hypothesize a cluster of core functions of environmental art, which encompasses effects such as tracking, broadcasting, emotions manipulation, cooperation, and critical reflection. Link https://doi.org/10.1162/LEON_a_00828 File

Authors Nicolas J. Bullot Rolf Reber Abstract Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further speci

Authors Nicolas J. Bullot, Rolf Reber Abstract Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artw

Authors Nicolas J. Bullot and Rolf Reber Abstract Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further s