Co-Producing Art’s Cognitive Value

Abstract After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue, audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art’. Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate the cognitive and artistic achievements of artists. I move against this worry by arguing that in order to learn via insight through art, audiences must collaborate with artists, sharing the labour and credit for the cognitive achievements they co-produce. I claim this co-productive outlook reveals that our appreciation of art’s cognitive and artistic value involves far more audience participation than has hitherto been realized.

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Publication Details

Journal
The British Journal of Aesthetics
Published
2024-09-27
DOI
https://doi.org/10.1093/aesthj/ayae049
Citations
2
Primary Topic
Aesthetic Perception and Analysis
Type
article
Field-Weighted Citation Impact
0.69
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article

Co-Producing Art’s Cognitive Value

Christopher Earley
2 citations
The British Journal of Aesthetics
Aesthetic Perception and Analysis
0.69
article

Co-Producing Art’s Cognitive Value

Christopher Earley
article en
2 citations

Abstract

Abstract After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue, audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art’. Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate the cognitive and artistic achievements of artists. I move against this worry by arguing that in order to learn via insight through art, audiences must collaborate with artists, sharing the labour and credit for the cognitive achievements they co-produce. I claim this co-productive outlook reveals that our appreciation of art’s cognitive and artistic value involves far more audience participation than has hitherto been realized.

The British Journal of AestheticsVol. 65(4)
University of Liverpool (GB)
Openalex Percentile: Top 30%
Aesthetic Perception and Analysis
0.69
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