Art and Perception: Using Empirical Aesthetics in Research on Consciousness.

Understanding consciousness is a major frontier in the natural sciences. However, given the nuanced and ambiguous sets of conditions regarding how and when consciousness appears to manifest, it is also one of the most elusive topics for investigation. In this context, we argue that research in empirical aesthetics-specifically on the experience of art-holds strong potential for this research area. We suggest that empirical aesthetics of art provides a more exhaustive description of conscious perception than standard laboratory studies or investigations of the less artificial, more ecological perceptual conditions that dominate this research, leading to novel and better suited designs for natural science research on consciousness. Specifically, we discuss whether empirical aesthetics of art could be used for a more adequate picture of an observer's attributions in the context of conscious perception. We point out that attributions in the course of conscious perception to (distal) objects versus to media (proximal objects) as origins of the contents of consciousness are typically swift and automatic. However, unconventional or novel object-media relations used in art can bring these attributions to the foreground of the observer's conscious reflection. This is the reason that art may be ideally suited to study human attributions in conscious perception compared to protocols dedicated only to the most common and conventional perceptual abilities observed under standard laboratory or "natural"/ecological conditions alone. We also conclude that art provides an enormous stock of such unconventional and novel object-media relations, allowing more systematic falsification of tentative conclusions about conscious perception versus research protocols covering more conventional (ecological) perception only. We end with an outline of how this research could be carried out in general.

From mechanisms to function: an integrated framework of animal innovation.

Animal innovations range from the discovery of novel food types to the invention of completely novel behaviours. Innovations can give access to new opportunities, and thus enable innovating agents to invade and create novel niches. This in turn can pave the way for morphological adaptation and adaptive radiation. The mechanisms that make innovations possible are probably as diverse as the innovations themselves. So too are their evolutionary consequences. Perhaps because of this diversity, we lack a unifying framework that links mechanism to function. We propose a framework for animal innovation that describes the interactions between mechanism, fitness benefit and evolutionary significance, and which suggests an expanded range of experimental approaches. In doing so, we split innovation into factors (components and phases) that can be manipulated systematically, and which can be investigated both experimentally and with correlational studies. We apply this framework to a selection of cases, showing how it helps us ask more precise questions and design more revealing experiments.

Evolving the future by learning from the future (as it emerges)? Toward an epistemology of change.

At the core of Wilson et al.'s paper stands the question of intentional change. We propose to extend this notion by introducing concepts from the domains of innovation and knowledge creation. By going beyond their "acceptance and commitment therapy" approach we present a comprehensive framework for a theory of change culminating in the change strategy of "learning from the future as it emerges."