Most of us share the belief that the experience of fine art is an ephemeral and highly subjective undertaking. However, what if there was a cognitive framework to the experience, one that is the same as that for science, math, engineering, and languages? According the author, Wes Raykowski, the conceptual understructure that guides the full range of human expressions is actually a single pattern.
This bold and novel approach to cognitive science is the topic of his published doctoral thesis, Conceptual Understructure of Human Experience. Now, the author offers a companion volume that trains an analytical eye exclusively on fine art. Applying the same formulation of units, extent, value, and schema, Conceptual Understructure of Human Experience: Volume 2 (Artworks) lays down a rational and empirical order that can be used to assess what we value in fine art.
This unprecedented approach to cognition serves as measuring stick for the examination of creative works, a process that has historically has eluded scientific consideration. Anyone who is curious about the conceptual understructure that is common to all our expressions will find much to reflect on in this eye-opening, novel work.
About the Author: Wes Raykowski, PhD, has spent the past several years involved in cognitive research that was carried out from an usual perspective: He investigated languages, mathematics, science, engineering, and fine art to determine whether or not there was a single conceptual structure that they all share. It is from this engagement that he formed the basis of his theory on the common cognitive patterns that can be found in most, if not all, human expression. Raykowski has thus far written two books in a planned series on the subject, Conceptual Understructure of Human Experience, and its companion title, Conceptual Understructure of Human Experience: Volume 2 (Artworks).
