Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics.

'The Oxford Handbook of Aesthetics' has assembled 48 brand-new essays, making this a comprehensive guide available to the theory, application, history, and future of the field.

Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics.

Examines the notion of aesthetic experience as well as its value. This title brings together major voices that have directly theorised the concept of aesthetic experience or indirectly worked on topics connected to it.

The empirical study of law, legal systems and legal institutions is widely viewed as one of the most exciting and important intellectual developments in the modern history of legal research. Motivated by a conviction that legal phenomena can and should be understood not only in normative terms but also as social practices of political, economic and ethical significance, empirical legal researchers have used quantitative and qualitative methods to illuminate many aspects of law's meaning, operation and impact. In the 43 chapters of The Oxford Handbook of Empirical Legal Research leading scholars provide accessible and original discussions of the history, aims and methods of empirical research about law, as well as its achievements and potential. The Handbook has three parts. The first deals with the development and institutional context of empirical legal research. The second - and largest - part consists of critical accounts of empirical research on many aspects of the legal world - on criminal law, civil law, public law, regulatory law and international law; on lawyers, judicial institutions, legal procedures and evidence; and on legal pluralism and the public understanding of law. The third part introduces readers to the methods of empirical research, and its place in the law school curriculum.

The exponential growth of clinical psychology since the late 1960s can be measured in part by the extensive-perhaps exhaustive-literature on the subject. This proliferation of writing has continued into the new century, and the field has come to be defined as much by its many topics as its many voices. The Oxford Handbook of Clinical Psychology synthesizes these decades of literature in one extraordinary volume. Comprising chapters from the foremost scholars in clinical psychology, the handbook provides even and authoritative coverage of the research, practice, and policy factors that combine to form today's clinical psychology landscape. In addition to core sections on topics such as training, assessment, diagnosis, and intervention, the handbook includes valuable chapters devoted to new and emerging issues in the clinical field, including heath care reforms, cultural factors, and technological innovations and challenges. Each chapter offers a review of the most pertinent literature, outlining current issues and identifying possibilities for future research. Featuring two chapters by Editor David H. Barlow -- one on changes during his own 40-year odyssey in the field, the other projecting ten themes for the future of clinical psychology -- The Oxford Handbook of Clinical Psychology is a landmark publication that is sure to serve as the field's benchmark reference publication for years to come. It is an essential resource for students, clinicians, and researchers across the ever-growing clinical psychology community.

The beginning of psychological aesthetics is normally traced back to the publication of Gustav Theodor Fechner's seminal book "Vorschule der Aesthetik" in 1876. Following in the footsteps of this rich tradition, editors Martin Skov and Oshin Vartanian view neuroaesthetics - the emerging field of inquiry concerned with uncovering the ways in which aesthetic behavior is caused by brain processes - as a natural extension of Fechner's 'empirical spirit' to understand the link between the objective and subjective worlds inherent in aesthetic experience. The editors had two specific aims for this book. The first was to highlight the diversity of approaches that are underway under the banner of neuroaesthetics.Currently, this topic is being investigated from experimental, evolutionary, neuropsychological, and neuroimaging perspectives to tackle problems in the visual arts, literature, music, and film. Its quintessentially interdisciplinary nature has functioned as a breeding ground for generating and testing hypotheses in multiple domains. The second goal was more integrative and involved distilling some of the key features common to these diverse strands of work. The book presents a possible framework for neuroaesthetics by highlighting what the contributors consider to be its defining features and offering a working definition of neuroaesthetics that captures these features. "Neuroaesthetics" will provide an empirical and theoretical framework to motivate further work in this area. Ultimately, the hope is that puzzles in aesthetics can be solved through insights from biology, but that the contribution can be truly bidirectional.