scholarly journals How to Be Important The Third Culture: Beyond the Scientific Revolution John Brockman

BioScience ◽  
1996 ◽  
Vol 46 (9) ◽  
pp. 710-713 ◽  
Author(s):  
Lawrence Slobodkin
Keyword(s):  
Scientific Revolution ◽  
Third Culture ◽  
The Third

The Third Culture: Beyond the Scientific Revolution

1996 ◽  
Vol 64 (3) ◽  
pp. 348-349 ◽  
Author(s):  
John Brockman ◽  
Alwyn Scott
Keyword(s):  
Scientific Revolution ◽  
Third Culture ◽  
The Third

Space Effort: The Third Culture

Science ◽  
1963 ◽  
Vol 141 (3578) ◽  
pp. 390-390
Author(s):  
T. Page
Keyword(s):  
Third Culture ◽  
The Third

Naturalized Aesthetics and Emotion Theory

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 76-85 ◽  
Author(s):  
Rainer Reisenzein
Keyword(s):  
Empirical Evidence ◽  
Case Studies ◽  
Integrated System ◽  
Third Culture ◽  
Extended Version ◽  
Basic Emotions ◽  
The Third ◽  
Psychological Theories ◽  
Concrete Application ◽  
Emotion Theory

Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emotions are outputs of a single, integrated system.

scholarly journals Putting the Culture into Bioculturalism

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 101-110
Author(s):  
Dominic Topp
Keyword(s):  
Cultural Knowledge ◽  
Cultural Dimensions ◽  
Third Culture ◽  
The Third

In Chapter 6 of Film, Art, and the Third Culture, Murray Smith argues for a biocultural account of the emotions, which treats them as an interaction between universal and cultural dimensions. He goes on to test this approach in relation to the representation of emotions in films by considering an example from the tradition of modernist filmmaking. This article suggests that, while Smith’s case is broadly convincing, there are several ways in which it could be presented more forcefully. In particular, his discussion of the challenge of modernism to a biocultural account could be strengthened by emphasizing rather than downplaying the role that various types of cultural knowledge play in our interaction with modernist works.

Questions about Aesthetic Experience

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 71-75
Author(s):  
Paisley Livingston
Keyword(s):  
Aesthetic Experience ◽  
Self Awareness ◽  
Third Culture ◽  
Aesthetic Experiences ◽  
The Third

These brief comments raise some questions about Murray Smith’s remarks, in his new volume Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, on the nature of aesthetic experience. My questions concern how we might best draw a viable distinction between aesthetic and non-aesthetic experiences and focus in particular on possible links between self-awareness and aesthetic experiences. In sum, I agree with Smith in holding that we should not give up on the notion of aesthetic experience, even though aestheticians continue to disagree regarding even the most basic questions pertaining to its nature.

Men in the middle of the third culture

1964 ◽  
Vol 6 (1) ◽  
pp. 17-18 ◽  
Author(s):  
John ◽  
Ruth Useem ◽  
John Donoghue
Keyword(s):  
Third Culture ◽  
The Third
Sign in / Sign up

Export Citation Format

Share Document