What Is Art Good For? The Socio-Epistemic Value of Art

Aleksandra Sherman, Clair Morrissey · 2017 · philosophy-of-art · 10.3389/fnhum.2017.00411 · record frontiers2017-what-is-art-good-for
tag layer · index · concepts · authors · עברית
Where this record's text came from. 2026-09-08 schema-0.3 pass: every quote verified as an exact substring of the staged text and anchored at merge time; concept terms verified present; every edge endpoint an existing node. Update, 11 September 2026: creators and year filled from Crossref by the record's own DOI (https://doi.org/10.3389/fnhum.2017.00411); the record had been admitted without either, so its public byline was empty. Data fetched by the project.
This record’s own method is review, and the tags below follow from that. A review’s findings, quantities and statistics are things stated IN this paper, and some of them report results obtained elsewhere. No tag on this page names a different author. Measured across every review in this corpus, 81% of a review’s tags carry no citation at all — most of them are the review speaking. The corpus does not adjudicate the rest: read an unmarked tag as a claim this paper makes, not necessarily one it made first.
How to read this page. The article itself is not reproduced here — this paper is not cleared for redistribution, so what follows is the tag layer alone. The evidence sentences are withheld with the article. The table at the foot lists every tag the record carries; each row names the facet it belongs to, and the whose words column says whether the tag records the paper's own wording or the tagger's sentence about the paper. Every tag links to each other paper in the corpus carrying it. The machine-readable edition of the same thing is the TEI file beside this one, where the tags live in standOff, and the article is at its publisher via the link below. When we have changed our mind. Some entries in the table begin with a word in capitals and the reason for it. EVIDENCE CORRECTED — the finding still stands, but we had quoted the wrong sentence from the paper, and the quotation has been replaced with the right one. RETRACTED — the entry itself was wrong; it stays on the page, marked, with the reason, rather than being deleted. WITHDRAWN AND REPLACED — the entry was wrong, and a corrected version of it appears in the entries below. Each mark carries its own reason, in brackets, because the reasons differ from one entry to the next. An entry we have WITHDRAWN is removed from this page and kept in the record, with its reason. A line reading Audit and a date is a later re-reading of the entry against its whole sentence: DOUBTFUL means it was kept, and the reason says what is loose about it. Quotation marks inside the tagger's sentence. Where a tag is the tagger's own sentence, a phrase in quotation marks inside it is borrowed from the paper — the tagger's wording around it is not. The paper's own sentence is the evidence quote for that row; on this page it is withheld with the article, and the article is at its publisher. Nothing inside quotation marks anywhere on this page is ours: if it is quoted, it is the paper's. Whose words a concept carries. A concept entry records a term the paper itself uses, so the term, the sense given for it, and its evidence are the paper's own words, quoted where the paper fixes them. This is the opposite of a sense entry in the tag table, which is the tagger's sentence about how the paper uses a term. Where a concept entry could not be grounded in the paper's words, the entry says so on its own row.
Other fields define these differently the same word, defined another way in another discipline
empathy 7 fields · aesthetic experience 4 fields · well-being 4 fields · cognitive empathy 3 fields · affective empathy 2 fields · default mode network 2 fields · and 3 more →

Tags on this paper

Every tag the record carries, each linking to every other paper in the corpus that carries it. A tag appears here whether or not its words occur in the article — the spans below are only the ones a sentence in this paper licenses. Of the 27 concept tags on this paper, all 27 are grounded in a quoted sentence. All carry the tagger's gloss of what the term means in this paper, which is not something the article can license.
art appreciation neuroaesthetics aesthetic experience social practices socio-epistemic skill self-understanding other-understanding self-knowledge knowledge of the self self-identity self-reflection being moved default mode network self-schema transformation clarificationism imaginative understanding empathy sympathy cognitive empathy affective empathy emotional contagion theory of mind embodied responses mirror neuron system aesthetic distance aesthetic evaluation well-being being moved prompts self-reflection default mode network recruitment expectancy violation and self-schema transformation embodied simulation affect sharing review
Method, as described: a conceptual/argumentative review: situate art appreciation as an active social practice, review the psychological and cognitive-neuroscientific evidence that it cultivates socio-epistemic skills, and draw on philosophical frameworks to motivate an expanded empirical program

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relation to other workclaim_relationshow this paper stands to another: agrees, contradicts, extends, qualifies
claim typeclaim_typethe shape of the claim: existence, mechanism, method, critique, prediction, null
concept edgeconcept_edgesan asserted relation between two concepts, with the sentence asserting it
conceptconceptsan idea the paper works with, quoted where the paper uses it
content tagcontent_tagsa finding, definition, quantity, statistic or variable named in the paper
contributioncontributionwhat the paper claims to add
limitationlimitationswhat the paper says its evidence cannot support
mechanismmechanismshow the reported effect is said to come about
methodmethodhow the paper produced its evidence
object of studyobject_of_studywhat the paper is about — the thing it investigates
phenomenonphenomenonthe effect or regularity under study
research questionresearch_questionthe question the paper sets itself
sensesensesa distinct use of a term, quoted where the paper fixes it
unrecordable relationunhoused_relationsa relation the paper asserts that this vocabulary cannot express, with the reason

The paper

The full text is not reproduced here. This article is not cleared for redistribution, so the page carries the tag layer only. Its evidence sentences are withheld; the grounding status remains with each tag, and the article itself is at https://doi.org/10.3389/fnhum.2017.00411. The reading view exists for the papers whose licence permits it.

Every tag on this page

claim_relations 6 · claim_type 1 · concept_edges 5 · concepts 27 · content_tags 20 · contribution 1 · limitations 5 · mechanisms 6 · method 1 · object_of_study 1 · phenomenon 1 · research_question 1 · senses 7 · unhoused_relations 4

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facettagfieldconf.whose words
object_of_studythe social and epistemic value of art appreciation - what art is good for beyond beauty, pleasure and preference, understood as a social practice that cultivates self- and other-understanding
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object_of_studythe paper's words
research_questionwhether and how a systematic scientific study of art appreciation, reframed as a social practice, should explain the socio-epistemic outcomes of arts engagement rather than only aesthetic pleasure or liking
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research_questionthe paper's words
contributionan argument to reframe art appreciation as socio-epistemically valuable - an embodied, enactive social practice cultivating self-understanding and other-understanding - and a call for an expanded empirical (neuroaesthetic) research program beyond judgments of beauty and preference
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contributionthe paper's words
claim_typecritique
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claim_typethe paper's words
phenomenonart appreciation as a social practice that cultivates socio-epistemic skills, specifically self-understanding and other-understanding
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phenomenonthe paper's words
methodreview
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also in: review
methodthe paper's words
mechanismsEmotionally moving, potentially transformative art experiences produce an inward, self-reflective focus - felt as chills or tears - that can exercise self- and other-understanding.
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mechanisms[0]0.86the tagger's words
mechanismsDuring intensely moving aesthetic experiences the default mode network, involved in self-contemplation and self-referential thought, is recruited more strongly for artworks rated as highly moving.
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mechanisms[1]0.85the tagger's words
mechanismsWhen a beholder's expectations are violated, self-reflective meta-cognitive re-assessment begins and can eventually restructure the self-schema.
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mechanisms[2]0.82the tagger's words
mechanismsEmbodied responses to art are cognitive and affective simulations that help the beholder grasp both the representational content of the work and the intentions of the artist.
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mechanisms[3]0.85the tagger's words
mechanismsEmpathy lets a beholder resonate with and share an isomorphic affective state while remaining aware of its source, providing a route to understanding others through art.
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mechanisms[4]0.85the tagger's words
mechanismsMirror neurons and homologous human cortical regions respond both when performing and when observing an action, a candidate substrate for experientially understanding an artwork's content and the artist's intentions.
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mechanisms[5]0.8the tagger's words
limitationsThe authors decline to commit to any specific or direct causal pathway between cognitive processes, art appreciation, and self- or other-understanding, identifying it instead as an open area of investigation.
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limitations[0]0.96the tagger's words
limitationsThe reviewed studies are not direct evidence that self-understanding is developed by art appreciation; they show only that self-reflection, a related process, is prompted by moving art experiences.
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limitations[1]0.95the tagger's words
limitationsThe empirical and philosophical research on art appreciation and other-understanding is still limited in scope, quantity, and specificity.
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limitations[2]0.95the tagger's words
limitationsMany claims that art appreciation cultivates empathy are contested; causal effects have not always replicated, and a brief encounter is typically shallow.
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limitations[3]0.94the tagger's words
limitationsThe extent to which mirroring, simulation, and empathy actually affect art appreciation and aesthetic evaluation remains understudied.
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limitations[4]0.94the tagger's words
conceptsart appreciation
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concepts[0]0.96the paper's words
conceptsneuroaesthetics
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concepts[1]0.94the paper's words
conceptsaesthetic experience
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concepts[2]0.92the paper's words
conceptssocial practices
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concepts[3]0.93the paper's words
conceptssocio-epistemic skill
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concepts[4]0.93the paper's words
conceptsself-understanding
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concepts[5]0.94the paper's words
conceptsother-understanding
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concepts[6]0.94the paper's words
conceptsself-knowledge
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concepts[7]0.9the paper's words
conceptsknowledge of the self
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concepts[8]0.9the paper's words
conceptsself-identity
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also in: self-identity
concepts[9]0.9the paper's words
conceptsself-reflection
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concepts[10]0.91the paper's words
conceptsbeing moved
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also in: being moved
concepts[11]0.9the paper's words
conceptsdefault mode network
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concepts[12]0.9the paper's words
conceptsself-schema transformation
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concepts[13]0.86the paper's words
conceptsclarificationism
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concepts[14]0.9the paper's words
conceptsimaginative understanding
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concepts[15]0.88the paper's words
conceptsempathy
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also in: empathy
concepts[16]0.93the paper's words
conceptssympathy
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also in: sympathy
concepts[17]0.89the paper's words
conceptscognitive empathy
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concepts[18]0.92the paper's words
conceptsaffective empathy
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concepts[19]0.92the paper's words
conceptsemotional contagion
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concepts[20]0.9the paper's words
conceptstheory of mind
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concepts[21]0.9the paper's words
conceptsembodied responses
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concepts[22]0.89the paper's words
conceptsmirror neuron system
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concepts[23]0.88the paper's words
conceptsaesthetic distance
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concepts[24]0.86the paper's words
conceptsaesthetic evaluation
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concepts[25]0.88the paper's words
conceptswell-being
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also in: well-being
concepts[26]0.88the paper's words
unhoused_relationsart appreciation → self-understanding
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Art appreciation as a practice is proposed to enhance self-understanding, but the authors explicitly decline to assert a specific or direct causal pathway. — the relation stated: Art appreciation may cultivate self-understanding, held open rather than causally asserted.
unhoused_relations[0]0.94the tagger's words
unhoused_relationsart appreciation → other-understanding
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Reviewed findings suggest art appreciation is deeply connected to other-understanding, engaging mental-state-attribution processes. — the relation stated: Art appreciation is connected to other-understanding on the reviewed evidence.
unhoused_relations[1]0.9the tagger's words
unhoused_relationscognitive empathy → affective empathy
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Cognitive empathy (modelling minds without emotional investment) and affective empathy (resonating with an isomorphic emotion) are two distinct routes to understanding others. — the relation stated: Cognitive and affective empathy are two related but distinct capacities for understanding others.
unhoused_relations[2]0.9the tagger's words
unhoused_relationsart appreciation → well-being
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Art appreciation and creation are associated with increased well-being and are argued to be partially constitutive of a flourishing life. — the relation stated: Art appreciation is associated with well-being and flourishing.
unhoused_relations[3]0.9the tagger's words
sensesunderstanding - Carroll's clarificationist sense: deepening and clarifying moral knowledge one already has, as opposed to acquiring new propositional knowledge from the sciences
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senses[0]0.9the tagger's words
sensesself - two philosophical senses: 'self-knowledge' as knowledge of one's own mental states, versus 'knowledge of the self' as understanding of one's self and its nature
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senses[1]0.9the tagger's words
sensesempathy - feeling WITH another (isomorphic affect sharing), distinguished from sympathy as feeling FOR another
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senses[2]0.9the tagger's words
sensessocial - the authors' sense: longstanding practices embedded in the fabric and life of communities, not mere co-presence or a social context of viewing
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senses[3]0.89the tagger's words
sensesvalue of art - social, epistemic and personal value, as opposed to monetary or economic value
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senses[4]0.9the tagger's words
sensesbeing moved - an intense, attachment-relevant emotional response prompting self-reflection, distinct from liking or a judgment of beauty
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senses[5]0.88the tagger's words
sensesthe arts vs aesthetics - the paper resists reducing 'the arts' (their nature and function) to 'aesthetics' (the capacity to cause disinterested pleasure)
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senses[6]0.89the tagger's words
claim_relationsbuilds-on → Wolterstorff's and MacIntyre's account of the arts as social practices
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note: Adopts MacIntyre's social-practices framework, via Wolterstorff, as the frame for the nature of the arts.
claim_relations[0]0.94the tagger's words
claim_relationscontrasts-with → neuroaesthetics' focus on beauty, preference and pleasure as the primary outcomes of art appreciation
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note: Argues that focus risks conflating the arts with aesthetics and reducing art to the capacity to cause disinterested pleasure.
claim_relations[1]0.95the tagger's words
claim_relationsextends → information-processing accounts of art appreciation
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note: Not opposed to them, but reoriented: investigate the information-processing system through socially-related outputs rather than aesthetic outcomes.
claim_relations[2]0.9the tagger's words
claim_relationssupports → the claim that art appreciation is deeply connected to other-understanding
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note: Reviewed neural findings are read as promising but not decisive support; more research is called crucial.
claim_relations[3]0.85the tagger's words
claim_relationsqualifies → claims that art appreciation cultivates empathy
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note: Notes many such claims are contested, causal effects have not always replicated, and brief encounters are shallow.
claim_relations[4]0.92the tagger's words
claim_relationsrecommends → longitudinal, multi-method empirical designs beyond single-exposure preference measures
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note: Recommends longer engagement, naturalistic comparison, combined methods, and state/trait individual-difference measures.
claim_relations[5]0.93the tagger's words
concept_edgesself-knowledge —distinct-from→ knowledge of the self
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the relation itself is separately evidenced · strength of the relation: 0.9 · note: Differentiator stated: mental states versus the self and its nature; cue 'In contrast'. · the relation stated: Self-knowledge is knowledge of one's own mental states, whereas knowledge of the self is understanding of one's self and its nature.
concept_edges[0]0.93the tagger's words
concept_edgesempathy —distinct-from→ sympathy
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the relation itself is separately evidenced · strength of the relation: 0.9 · note: Differentiator stated: feeling 'with' versus feeling 'for'; cue 'distinct from / rather than'. · the relation stated: Empathy is feeling 'with' another (an isomorphic shared emotion), distinct from sympathy, which is feeling 'for' another. Audit 2026-09-28: DOUBTFUL - read against its span and kept, but the span shown is about 'catching' another's state; the empathy-sympathy distinction is not visible.
also in: empathy · sympathy
concept_edges[1]0.92the tagger's words
concept_edgesempathy —distinct-from→ emotional contagion
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the relation itself is separately evidenced · strength of the relation: 0.9 · note: Differentiator: awareness of the source of one's affect; cue 'does not / rather than'. · the relation stated: True empathy requires a developed sense of self, agency, and other, whereas imitation or emotional contagion alone - seen even in infants - does not. Audit 2026-09-28: DOUBTFUL - read against its span and kept, but the span shown is about 'catching' another's state; the empathy-contagion distinction is not visible.
concept_edges[2]0.91the tagger's words
concept_edgesself-understanding —is-a→ socio-epistemic skill
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the relation itself is separately evidenced · strength of the relation: 1 · note: Flat categorical is-a; cue 'is a', instance first. · the relation stated: Self-understanding is a socio-epistemic skill, because recognizing and acting on one's central values is a social ability.
concept_edges[3]0.9the tagger's words
concept_edgesbeing moved —contrasted-with→ aesthetic evaluation
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the relation itself is separately evidenced · strength of the relation: 0.85 · note: Contrast of research focus; cue 'rather than'. · the relation stated: Understanding the experience of being moved is set against just focusing on aesthetic evaluation as the object of research.
concept_edges[4]0.88the tagger's words
content_tagsDefault mode network activity was higher for artworks rated as highly moving than for those rated lower, consistent with an inward, self-reflective focus during moving aesthetic experiences.
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content_tags.findings[0]0.9the tagger's words
content_tagsFeeling like crying while viewing art was correlated with increased self-awareness, feelings of epiphany and insight, and with mixed emotions corresponding to being moved.
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content_tags.findings[1]0.88the tagger's words
content_tagsParticipants whose bodily motions were congruent with a painting's style (e.g., stippling for Pointillism) reported liking the artworks more than incongruent groups, suggesting motor resonance shapes preference.
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content_tags.findings[2]0.88the tagger's words
content_tagsIndividuals high in emotion contagion were more moved by, interested in, and enjoyed visual art, and reacted more strongly to emotion-congruent aspects of the work.
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content_tags.findings[3]0.88the tagger's words
content_tagsPeople who read more literary or narrative fiction score higher on mental-state tests (RMET, Yoni), and even brief exposure to a literary short story raised scores relative to popular fiction or nonfiction.
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content_tags.findings[4]0.88the tagger's words
content_tagsAfter watching empathy-inducing film clips, individuals were more charitable, a prosocial effect that was partially mediated by age.
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content_tags.findings[5]0.87the tagger's words
content_tagsA large-scale population study found that both art appreciation and art creation are associated with increased well-being (perceived health, life satisfaction, and lower anxiety and depression).
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content_tags.findings[6]0.89the tagger's words
content_tagsContrary to a simple empathy-boost account, reading fiction was found to decrease perceptual accuracy in discriminating fearful emotions, plausibly through a prosocial attribution bias.
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content_tags.findings[7]0.86the tagger's words
content_tagsin philosophy, knowledge of one's own mental states - one's own beliefs, thoughts, or sensations
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content_tags.definitions[0]0.94the tagger's words
content_tagsknowledge or understanding of one's self and its nature, as opposed to knowledge of one's particular mental states
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content_tags.definitions[1]0.93the tagger's words
content_tagsfollowing Martin, an achievement: developing a justifiable and meaningful perspective on one's life, calling for adjustments in attitude, emotion and conduct
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content_tags.definitions[2]0.92the tagger's words
content_tagsindividuals' subjective senses of who they are - their self-images - organized around a set of central commitments or values
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also in: self-identity
content_tags.definitions[3]0.92the tagger's words
content_tagsCarroll's view that art appreciation deepens and clarifies moral knowledge one already has (understanding) rather than delivering new propositional knowledge
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content_tags.definitions[4]0.92the tagger's words
content_tags'catching' another person's experience - an affective capacity to resonate with an isomorphic emotion while remaining aware of its source, distinguishing self from other
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also in: empathy
content_tags.definitions[5]0.92the tagger's words
content_tagsthe capacity to model others' experiences by inferring their intentions and predicting future actions, without requiring emotional investment
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content_tags.definitions[6]0.92the tagger's words
content_tagsKieran's skill, promoted by the arts, of appreciating the appropriate way to feel for, regard, and respond to others
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content_tags.definitions[7]0.9the tagger's words
content_tagsMacIntyre's coherent, complex forms of socially established cooperative human activity through which internal goods are realized in pursuing the standards of excellence definitive of that activity
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content_tags.definitions[8]0.92the tagger's words
content_tagsfollowing Koopman and Hakemulder, thoughts and insights on oneself, often in relation to others and/or to society
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content_tags.definitions[9]0.91the tagger's words
content_tagsrarely exceeding 15 seconds — typical short viewing time per artwork in lab studies of visual aesthetic experience the authors critique
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content_tags.quantities[0]0.9the tagger's words
content_tagsat least 1 minute — longer per-artwork engagement time the authors recommend for future designs
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content_tags.quantities[1]0.9the tagger's words

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