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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

In his recent agenda-setting monograph, Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, Murray Smith (2017) foregrounds the currency of “third culture” as a key concept for contemporary debates on cinema and the brain

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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

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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

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

The final page of Murray Smith’s Film, Art, and the Third Culture concludes with a discussion of the gap between the mind, mental representations, mediated representations such as film footage, and the world that such representations depict