This article addresses a question still frequently posed in the context of UK universities which offer courses in the visual arts: Does the PhD research model of contributing new knowledge fit art, where there are no definitive answers and the main strength of the research is its ability to question?, answering in the positive by distinguishing between propositional knowledge and understanding. It acknowledges the range of work already published on this topic and distils an aesthetic cognitivist position from which the visual arts are construed as powerful means of deepening our understanding, a source of non-propositional knowledge on a par with, although qualitatively different from, the way that the sciences are construed as the means to propositional knowledge. The distinguishing feature of the article is its attempt to provide a relatively concise overview of the background and structure of the case for the inclusivity of research through visual arts practices at doctoral level in the universities, based upon an aesthetic cognitivist position which I hope will support research supervisors and others charged with advocating the viability of practice-based or practice-led doctoral proposals1 in university cross-disciplinary research degrees’ committees.

中文翻译：

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审美认知主义：通过视觉艺术实践为博士研究提供一个简洁的案例

本文解决了在提供视觉艺术课程的英国大学中仍然经常出现的一个问题：贡献新知识的博士研究模型是否适合艺术，没有确定的答案，研究的主要力量是其能力问题？，通过区分命题知识和理解来肯定回答。它承认有关该主题的已发表著作的范围，并散发出一种美学认知主义的立场，视觉艺术被认为是加深我们理解的有力手段，是一种非命题知识的源泉，尽管在本质上与该观点有所不同。科学被视为命题知识的手段的方式。