I am a philosopher who works theoretically and empirically (X-Phi, EEG, eye-tracking) at the interface of philosophy of mind and cognitive science with a specific focus on our interaction with cultural artifacts and media such as architecture, film, and images. Since 1/2020 I am Principal
Investigator of the Research Group: Cognitive Science of Cultural Artifacts, Art, and Aesthetics within the EU Horizon 2020 Consortium Project: ARTIS: Art and Research on Transformations on Individuals and Societies. Follow me on Academia.edu or contact me per mail
Joerg Fingerhut received his PhD in philosophy from Humboldt-Universität zu Berlin (2013) as a researcher in the "Collegium Picture Act & Embodiment," a joint project of art historians and philosophers. He was a member of the "Functions of Consciousness" research group at the Berlin-Brandenburg Academy of the Sciences and Humanities and "Art & Neuroscience Postdoctoral Fellow” at Columbia University (2013), and assistant professor at the University of Stuttgart (2013-2015). He coordinated the research and activities of the Einstein group from 4/2015-12/2019 with a personal focus in research on "Aesthetic Psychology" and "Embodied and Embellished Perception."
I work at the interface of philosophy of mind and cognitive science. Generally, I am interested in embodied approaches to the mind and the role the active body plays in the unfolding of conscious mental events. Since my PhD I extended this focus to our interactions with the built environment, visual media and cultural artifacts more generally. I investigate how those interactions influence our body schema, alter our perceptual judgments, and constitute novel forms of embodied knowledge. This line of research is based on the idea that our mental processes and the neural processes underlying them are more dynamic, more context-dependent, and more malleable than previous approaches to the mind have acknowledged.
Aesthetic experiences with and evaluations of everyday objects, artifacts, and artworks are a second interest of mine. The question is here: why do we value certain objects over others? Why do we find some of them beautiful and why do we engage with such strange objects as artworks? With the Einstein group I plan to conduct behavioral experiments in order to explore which elements we value in art and to assess our bodily engagement as well as the psychological and neurological processes that underlie such evaluations.
For more information, full list of publications, and copies of most papers see my academia page.