Art Modeling Liliana

So, Kim's proposal of integrating research on aesthetically processed information provides an interesting and fertile basis for the development of EAP. In the present paper, I concentrate on esthetics from an encompassing perspective. I endeavor to show how art can be modeled and modeled on art, and this entails a particular challenge. First, I draw on the traditional understanding of art, focusing on esthetics in the humanist tradition (from Kant to Szondi; cf. Tremaux, 1994, ch. 2.3). I then draw on related philosophies of art and on the epistemic and hermeneutic models developed by European and Euro-American thinkers (cf. Muntagiri, 2013, ch. 2; Heidegger & Weibel, 1998) to shift the focus on art from the essentially a priori to the essentially a-empirical. To supplement Kim's call for a theory of aesthetic experience, I consider aesthetic and affective experience from a first-person perspective and propose derived results on its mapping onto experiential mental states (an experimenter-like model of aesthetic experience) and on its theoretical basis. Then, I consider how this concept, which is neither \"naturalized\" nor artificially created in a social environment, is produced communicatively during experiences of art. Finally, I make a case for the monitoring and diagnostics of experience. The latter is integral to my account of all experiences and, arguably, also to epistemic processes. If the goal is to develop models capable of representing and simulating the virtuosity of skilled artists, it is necessary to develop parallel and complementary software resources. These resources must allow scientific research to investigate and simulate artistic processes and outcomes at levels ranging from the individual to the social and, even, to the cosmological.

As discussed in Section 1 and illustrated in Section 2, aesthetic structures are both cultural and irreducible. They are cultural but can be investigated from the perspective of the arts. This raises the question of how aesthetics can be investigated (cf. Bischof, 2009). In the following, I consider two principal approaches to modeling: a deductive and a structural-genetic model. The first relates to the art-theoretic interpretation of aesthetics as goal orientation (cf. Thorpe, 2008, ch. 3). The second relates to the biological concept of genetic modeling (cf. Font, 2009). 7211a4ac4a