Year: 2025
Type: article
Abstract: Numerous attempts to define art have been made from antiquity to the present, yet historical overviews often adopt a Eurocentric (and American-centric) perspective focused mainly on culturally dependent aesthetic approaches. As a universal social and cultural phenomenon, art resists center-periphery models. The cognitive turn reshaped art theory by reconsidering art as a cognitive dimension of humanity. Art has no limits on who can create or enjoy it. The ability to use and understand metaphor, for instance, demonstrates everyday human artistic cognition. The analysis relies on both field research (case studies) and academic literature; it argues for a revised theoretical frame for defining art and organizes it into a dynamic model of three main vectors: (1) art as communication (including art as agency); (2) art as creation; and (3) art as experience (involving both audience and artist). The model can incorporate the study of emotions into the third criterion while remaining open to both materialist and non-materialist approaches. Rather than offering a new definition, the study integrates the perspective of cognitive anthropology, cognitive semantics, and the anthropology of art in order to broaden understanding. Instead of searching for special aesthetic or economic values, these three dimensions of art appear more universal. A pragmatic analysis of how art “works” in individuals and groups provides a useful model for cognitive sciences. Instead of binary codes, it is a vectorial model, a 3D space for expressing family resemblance, since there is no common denominator (prototype) for all kinds of art.
DOI: 10.3390/ijcs2010001
Author: László Koppány Csáji
Language: English
Subfield: Cognitive Neuroscience
Field: Neuroscience
Domain: Life Sciences
Open Access status: diamond
OpenAlex ID: W7117740784