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Stacie Friend

In Film, Art, and the Third Culture (FATC) , Murray Smith articulates and defends an approach to aesthetics generally, and to film specifically, that exemplifies a naturalized aesthetics . Borrowing C. P. Snow’s (1956) famous terminology, Smith

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Murray Smith

speakers and audience members on all of these occasions, as I did from the symposium “Is Psychology Relevant to Aesthetics?” devoted jointly to Film, Art, and the Third Culture (hereafter, FACT) 1 and Bence Nanay’s Aesthetics as Philosophy of Perception

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Film, Art, and the Third Culture

A Naturalized Aesthetics of Film—Précis

Murray Smith

About sixty years ago, C. P. Snow began his campaign against the “two cultures”—the debilitating divide, as he saw it, between traditional “literary intellectual” culture and the culture of the sciences, urging in its place a “third culture” that

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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

This article analyzes the unique historical collaboration between the revolutionary Russian film director Sergei Eisenstein (1898–1948), the cultural psychologist Lev Vygotsky (1896–1934), and the founder of contemporary neuropsychology, Alexander Luria (1902–1977). Vygotsky’s legacy is associated primarily with the idea that cultural mediation plays a crucial role in the emergence and development of personality and cognition. His collaborator, Luria, laid the foundations of contemporary neuropsychology and demonstrated that cultural mediation also changes the functional architecture of the brain. In my analysis, I demonstrate how the Eisenstein-Vygotsky-Luria collaboration exemplifies a strategy of productive triangulation that harnesses three disciplinary perspectives: those of cultural psychology, neuropsychology, and film theory and practice.

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Katherine Thomson-Jones

Murray Smith’s new book, Film, Art, and the Third Culture , offers an elaboration and defense of scientifically informed theorizing about the arts in general and film in particular. Interestingly, this is also a defense of philosophical naturalism

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Paisley Livingston

These brief comments focus on only one of the many strands of Murray Smith’s (2017) wide-ranging and excellent new book Film, Art, and the Third Culture , namely his discussion of aesthetic experience. Smith claims that aesthetic experience is “a

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Jerrold Levinson

I am full of admiration for Murray Smith’s Film, Art, and the Third Culture , which for convenience and with slight liberty I refer to as FACT . For one, it is among the most enjoyable reads I have ever had from a book in aesthetics. For another

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Rainer Reisenzein

In Film, Art, and the Third Culture , Murray Smith advocates a naturalized aesthetics of film that is a version of what he calls cooperative naturalism—a form of naturalism in which “the knowledge and methods of the natural sciences come to

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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

In his latest book, Film, Art, and the Third Culture (2017), Murray Smith provides a refreshing, timely, and thought-provoking proposal on the relationship between film, art, and science by adopting a third-culture perspective. Namely, he proposes

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

subsequent research. It comes as no surprise, then, that Smith’s new book, Film, Art, and the Third Culture (2017), explores a diverse range of filmmaking traditions. These include Hollywood both old (Hitchcock again, along with Howard Hawks) and new (Paul