Sianne Ngai and Haley Thurston have done much, I think, for aesthetics by formalizing certain descriptive terms previously used informally: the zany, cute, and merely interesting (Ngai); the baroque, whimsy, and cheesy (Thurston). I want to continue that project here. Continue reading “The Resonant”
Visual art — representational imagery — begins somewhere between fifty and one-hundred thousand years ago, overlapping with the Upper Paleolithic Transition. The period consists of rapid gains in tool technologies alongside the beginnings of modern symbolic thought, with human societies developing currency systems, dispersed social organizations, and increasingly sophisticated religious belief.
To Alva Nöe, writing in 2015’s Strange Tools: Art and Human Nature, the religious and social practices which began in this era, such as funerary rites, rites of passage, religious ceremony, symbolic adornment, and complex linguistic interactions, are examples of organized activities, “evolving patterns of organization” within which humans are embedded. Modern examples include driving a car in a highway system or navigating the complexities of workplace protocol — both being situations where we act improvisationally, within sets of constraints, and using established scripts, pre-determined by the situation’s structural context. Continue reading “Predictive Processing & Art as Cognitive Remodeling”