However, there are circumstances where the latter looks as if it will inform the former. If we regard the first as dealing with constitutive questions, and the second dealing with causal questions, it looks as if they are separate enquiries. The second part discusses the relation between philosophy and psychology. The first gives an account of Wollheim’s views on pictorial representation: on ‘seeing-in’, ‘expressive perception’ and ‘visual delight’. This paper examines the views of a philosophical aesthetician who was sympathetic to psychology: Richard Wollheim. 1 The Master of the Masek Beds: Handaxes, Art, and the Minds of Early Humans 1.25 Pictorial Representation and Psychology.24 Varieties of Pictorial Judgement: A Functional Account.23 Neurology and the New Riddle of Pictorial Style.PART VII Pictorial Representation and Appreciation.22 Cross‐Cultural Musical Expressiveness: Theory and the Empirical Programme.21 Music and Emotion: Psychological Considerations.20 ‘I'll Be Your Mirror’? Embodied Agency, Dance, and Neuroscience.17 On Keeping Psychology Out of Literary Criticism.16 Enacting the Other: Towards an Aesthetics of Feeling in Literary Reading.15 Unpacking the Boxes: The Cognitive Theory of Imagination and Aesthetics.14 An Attitude Towards the Possible: The Contributions of Pretend Play to Later Adult Consciousness.12 Experiencing the Aesthetic: Kantian Autonomy or Evolutionary Biology?.11 Aesthetics: The Approach from Social Anthropology.10 Beauty is Not One: The Irreducible Variety of Visual Beauty.9 Beauty is Instinctive Feeling: Experimenting on Aesthetics and Art.8 The Origins of Aesthetics: A Neurobiological Basis for Affective Feelings and Aesthetics.7 The Ethics of Aesthetic Bootstrapping.6 Beauty is Felt, Not Calculated and it Does Not Fit in Boxes.PART II Emotion in Aesthetic Experience.4 Fact and Fiction in the Neuropsychology of Art.
3 Neuroscience, Biology, and Brain Evolution in Visual Art.2 The Fragility of Aesthetic Knowledge: Aesthetic Psychology and Appreciative Virtues.1 The Master of the Masek Beds: Handaxes, Art, and the Minds of Early Humans.
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