Art in general perception is something that transcends our notion of reality. In view of the earliest findings in Paleolithic sites, their abstract appearance and sometimes ceremonial context increased their status of a secret language. Even the first figurative cave paintings remained in a context of an encoded semantic whole. The highly symbolic value of art seemed invulnerable. It was just the claim for “mimesis” in Greek antiquity (Plato) that urged artists to “realistically” depict what can be seen—as to stay in track of eternal messages behind. This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles. First, that reality (the phenomenal world) is in general only a pale reflection of what lays behind (Platonic ideas) and second, that the human eye, unlike the human mind, cannot penetrate to more than ephemeral impressions. Moreover, it mixed up reality with what we are able to see (i.e. visual perception), thus supposing a pinpoint representation of the world by our senses. Aristotle was the first to qualify art as picturing more than we usually are meant to see, filling the gap between the sensual and the spiritual world. Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion, thus a summarized view within any performance of poetics or painting. And it took centuries to close the gap between natural and aesthetic perception or art. Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized, concept as emotion‐driven and thus, mentally equipped as well. This sets a new approach in our understanding of perception, art, and aesthetics as an ongoing communication in process on common bases. Art may cooperate or disagree, but never can cut the nexus with its perceptual prejudices and substrate.

中文翻译：

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亚里士多德的梦想：艺术中审美交流的进化和神经方面

一般意义上的艺术超越了我们对现实的观念。鉴于旧石器时代遗址的最早发现，它们的抽象外观和有时的礼仪语境增加了其秘密语言的地位。甚至第一批具象性的洞穴绘画都保留在编码语义整体的上下文中。艺术的极具象征意义的价值似乎无懈可击。这只是“模仿”的主张在希腊古代（柏拉图）中，他敦促艺术家“现实地”描绘出可以看到的东西，以追随背后永恒的信息。这使艺术作品贬值为纯粹的仿制品，不得不立即克服一些固有的障碍。首先，现实（现象世界）通常只是对背后存在的东西（柏拉图式观念）的苍白反映，其次，与人的思想不同，人的眼睛无法渗透到短暂的印象中。此外，它把现实与我们能够看到的东西（即视觉感知）混合在一起，从而假设了我们的感官对世界的精确表示。亚里士多德是第一个将艺术定为绘画的人，其想象力超出了我们通常所看到的范围，填补了感性世界和精神世界之间的空白。亚里士多德美学包括减少和选择构图和情感的概念，因此是任何诗学或绘画表现中的概括视图。而且，花了几个世纪的时间才能弥合自然与审美观念或艺术之间的鸿沟。20世纪的生命科学发现，感官知觉的进化基础是高度偏颇和有条理的，概念是情感驱动的，因此在心理上也具有精湛的装备。这为我们在感知，艺术和美学上的理解提供了一种新方法，这是一种基于共同基础的持续沟通过程。艺术可以合作或不同意，但绝不能凭借其感知上的偏见和底线来切断联系。而且，花了几个世纪的时间才能弥合自然与审美观念或艺术之间的鸿沟。20世纪的生命科学发现，感官知觉的进化基础是高度偏颇和有条理的，概念是情感驱动的，因此在心理上也具有精湛的装备。这为我们理解观念，艺术和美学树立了一种新方法，这是一种在共同基础上进行中的持续交流。艺术可以合作或不同意，但绝不能凭借其感知上的偏见和底线来切断联系。而且，花了几个世纪的时间才能弥合自然与审美观念或艺术之间的鸿沟。20世纪的生命科学发现，感官知觉的进化基础是高度偏颇和有条理的，概念是情感驱动的，因此在心理上也具有精湛的装备。这为我们在感知，艺术和美学上的理解提供了一种新方法，这是一种基于共同基础的持续沟通过程。艺术可以合作或不同意，但绝不能凭借其感知上的偏见和底线来切断联系。