Prum Richard O
Department of Ecology and Evolutionary Biology, and Peabody Museum of Natural History, Yale University, New Haven, CT USA.
Biol Philos. 2013;28(5):811-832. doi: 10.1007/s10539-013-9389-8. Epub 2013 Jul 6.
This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto's concept to any aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity.
这项研究提出了一种涵盖生物艺术和人类艺术的协同进化美学理论。美学中的人类中心主义观点阻碍了对自然美学本体复杂性以及许多非人类生物审美能动性的认识。所有生物的展示都经历了评价性协同进化的过程。我认为艺术是一种与自身评价共同进化的交流形式。艺术和艺术史是群体现象。我将亚瑟·丹托的概念扩展到任何由生产者和评价者构成的审美群体。当前的艺术概念无法将人类艺术与多种非人类生物艺术形式完全区分开来。若不假定任意的人类中心主义视角，任何艺术概念都需要涉及生物多样性，要么将许多生物展示实例视为艺术，要么排除一些人类艺术实例。协同进化美学理论为人类和生物艺术世界中的审美变化提供了一种启发性解释，包括艺术世界中审美属性和审美价值的协同进化起源。在这些学科不以人类为组织核心的情况下对美学、艺术批评和艺术史进行重构，将推动我们在理解艺术以及人类对美学和审美多样性的独特贡献方面取得新进展。
