Abstract
Bio-Aesthetics. A Critique examines the rising influence of evolutionary theory across academic disciplines today. Empowered by neo-Darwinian theory and recent advances in neuroscientific research, nascent academic fields have particularly challenged the Humanities’ non-empirical and largely speculative approach to modern art, culture, and aesthetic theory. In its stead, evolutionary scholars advocate a strict biological functionalism that effectively reduces mind to brain and art to science. Unfortunately, Humanities’ scholars so far have been slow to respond to this challenge. Bio-Aesthetics remedies this problem by providing the first comprehensive account of current evolutionary and neuroscientific approaches to art and human culture to demonstrate both the need for and the limits of interdisciplinary research in the Humanities. Above all, Bio-Aesthetics is A Critique in the Kantian sense of the term: it works through a critical appraisal of neo-Darwinian reductionism in order to develop a more germane and balanced methodology for future collaborative research across disciplines. Bio-Aestheticscentral argument contends that Kant’s transcendentalism amounts to the “structural coupling” of organism and environment, which also applies to our knowledge of the (phenomenological) world we come to inhabit as living beings. Scientific reductionism and neo-Darwinian theory ignore the self-constructed nature of reason and culture for genetic laws and evolutionary principles that allegedly determine human behaviour. Hence the overriding goal of Bio-Aesthetics is to provide the Humanities with a self-critical, historically nuanced and epistemologically up-to-date counter-paradigm to what E. O Wilson called “sociobiology,” that is the reductionist view of human cultural evolution dominant in neo-Darwinian evolutionary theory today.
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