Art theory has consistently emphasised the importance of situational, cultural, institutional and historical factors in viewers' experience of fine art. However, the link between this heavily context-dependent interpretation and the workings of the mind is often left unexamined. Drawing on relevance theory-a prominent, cogent and productive body of work in cognitive pragmatics-we here argue that fine art achieves its effects by prompting the use of cognitive processes that are more commonly employed in the interpretation of words and other stimuli presented in a communicative context. We describe in particular how institutional factors effectively co-opt these processes for new ends, allowing viewers to achieve cognitive effects that they otherwise would not, and so provide cognitivist backing for an Institutional Theory of Art, such as that put forward by Arthur Danto (1964). More generally, we situate and describe the Western fine art tradition as a phenomenon that is a consequence of both the cognitive processes involved in communication, and of cultural norms, practices and institutions.

The editorial staff of JHM works hard to make sure the scholarship disseminated in JHM is accurate and upholds professional ethical guidelines. However the views and opinions expressed in each published manuscript belong exclusively to the individual contributor(s). The publisher and the editors do not endorse or accept responsibility for them. AbstractThe low visibility and specialised languages of mathematical work pose challenges for the ethnographic study of communication in mathematics, but observationbased study can offer a real-world grounding to questions about the nature of its methods. This paper uses theoretical ideas from linguistic pragmatics to examine how mutual understandings of diagrams are achieved in the course of conference presentations. Presenters use shared knowledge to train others to interpret diagrams in the ways favoured by the community of experts, directing an audience's attention so as to develop a shared understanding of a diagram's features and possible manipulations. In this way, expectations about the intentions of others and appeals to knowledge about the manipulation of objects play a part in the development and communication of concepts in mathematical discourse.

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science.

No abstract

Abstract