# Bigger Than Art. The Philosophy of Experiential Artifacts  ## Metadata - Author: [[Enrico Terrone]] - Full Title: Bigger Than Art. The Philosophy of Experiential Artifacts - Category: #articles - Summary: insert summary - My notes: - Summary: Enrico Terrone argues that artworks are a kind of "experiential artifact" made to generate specific experiences. Recognizing this links art to technology and shows different arts are designs for different experiences. The book proposes a new philosophy merging aesthetics, philosophy of mind, and technology to study these artifacts. - URL: https://readwise.io/reader/document_raw_content/388595636 - Source File: Sounds and Other Denizens of Time by Vincenzo Santarcangelo and Enrico Terrone.pdf ## LLM Chats ## NotebookLM ## LLM Audio ## Highlights > Arts such as music and dance resemble pictorial arts since all their structures consist of arrays of perceptible qualities. Yet the function of pictures is to generate perceptual experiences focused on what is represented, whereas the function of music and dance is to generate perceptual experiences focused on those very qualities (which are auditory and kinetic, respectively, cf. Langer 1953; Montero 2006). ([View Highlight](https://read.readwise.io/read/01kabbjmp0kv4y51trms2cfwem)) > Following James Grant (2023, 70) I take appreciation of an object to involve responding to it "in ways it merits and for appropriate reasons". In this sense, appreciation is a sort of guided experience, that is, as Allen Carlson (2000, xiv) points out, experience "guided by the nature of the object of appreciation". ([View Highlight](https://read.readwise.io/read/01kabc9tc32ek53d59v0d1dad7)) > Craft and design produce paradigmatically impure artifacts, whose technical function is supplemented with an experiential function. ([View Highlight](https://read.readwise.io/read/01kabcg7jbthbck7bp578a7dp7)) > I envision this book as a seminal contribution ([View Highlight](https://read.readwise.io/read/01kab2g35f5tygvy1g1qvhvq42)) - Note: not sure you should be quite so confident.. > Yet he also advocates a “stereoscopic” synthesis of the two images such that “the manifest image is not overwhelmed in the synthesis” (1963, 9). ([View Highlight](https://read.readwise.io/read/01kab6vs7p60rbrhh04fg29p02)) - Note: i don't understand > Second, structure is an arrangement of elements, which can be as concrete as the legs and top of a table, or as abstract as the instructions in a computer program ([View Highlight](https://read.readwise.io/read/01kab81214qch3vcrj27ps8xah)) > the characteristic behavior of the artifact ([View Highlight](https://read.readwise.io/read/01kab81e9eedfj286569v5aet7)) - Note: hmmmm > Although paradigmatic artifacts such as cars or computers have structures composed of inanimate elements, the structure in virtue of which an artifact performs its function may also involve roles played by human beings, thereby leading to what I call “institutional artifacts”, that is, entities such as universities or companies. M ([View Highlight](https://read.readwise.io/read/01kab849xagcgqt876fxw19rv6)) - Note: could be clearer > I stress that, in the experiential series, mental states not only follow one another “horizontally” but also coexist “vertically,” just as musical notes do in a piece of music. For example, perceptions can coexist with emotions just as the notes A and C can coexist in a chord. This view of experience has three main sources, namely, Kantian “metaphysics of experience” (Strawson 1966), the descriptive accounts of experience in the wake of Brentanian, Husserlian, and Sartrean phenomenology (Smith 2002; Kriegel 2015), and philosophical psychology in an arc that runs from William James’s (1890) characterization of experience as “the stream of consciousness” to Andy Clark’s (2023) conception of the brain as “the experience machine”. ([View Highlight](https://read.readwise.io/read/01kab8awh2sdq60yhapnx7n4m4)) - Note: hmmmm > their attitude (the guise under which content is represented), and their format (the structure through which content is represented). ([View Highlight](https://read.readwise.io/read/01kab8g9977zdbnmav5w60bfxj)) - Note: is a non mind person going to understand what you mean here? > Specifically, I argue that emotions, actions, introspection, and empathy are such combinations, while attention is rather an attitudinal feature orthogonal to mental states, not a stand-alone mental state. ([View Highlight](https://read.readwise.io/read/01kab9n7rtfva20nebxtk2pe4r)) - Note: maybe watzl would be useful here. there are other attention people like dicey jennings and that other guy who might also be interesting > candies ([View Highlight](https://read.readwise.io/read/01kab9rx0svn2ya09hfk9cb2y9)) - Note: 'sweets' if you want to maintain british english > This is not only too general but also false, as there are arguably artifacts that are unhelpful or even harmful but still count as artifacts, since they have functions—albeit unhelpful or harmful ones. ([View Highlight](https://read.readwise.io/read/01kaba70dkagrfads00cgryxrc)) - Note: such as...? > Sculpture and architecture, on the other hand, are visual arts that also mandate performative exploration by viewers, just as theater is a linguistic art that requires the interpretive performance of actors. All this allows us to systematize the traditional forms of art, which is already a significant step forward, but the challenges of mass art and avant-garde art remain to be addressed. ([View Highlight](https://read.readwise.io/read/01kabad9q94nf637m36de90x2w)) - Note: a bit quick > Nevertheless, we can cast dreams as experiential artifacts since they are made by us to elicit experiences from us, just like works of art. ([View Highlight](https://read.readwise.io/read/01kabetxfpmhm9jq9dszzc6g8m))