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The fundamental philosophical question that informs the groundwork of this thesisasks: can art be a source of knowledge? I make the argument that art embodies both a sourceof and a vehicle for knowledge. Having said that, in Section (1.5), I explore the work ofAmerican philosopher Nelson Goodman, and in so doing, I qualify the term 'knowledge' toindicate 'human understanding'. This subtle qualification informs my subsequent researchmethodology. In response to the aforementioned philosophical question, my basic claim is thatart embodies a sui generis cognitive, ontological, and didactic value. This tripartite schema ofvalue informs the basic mode of presentation of this thesis. In short, each aspect of art's suigeneris value informs a conceptually distinct but functionally and operationally interrelatedpillar of argumentation. Accordingly, Section (2.0) explores the sui generis cognitive value ofart. Section (3.0) deals with the sui generis ontological value of art. Section (4.0) is devoted toan examination of the sui generis didactic value of art. Please note that, in discussing the suigeneris ontological value of art, one invariably touches upon both metaphysical andepistemological implications. Thus, I have opted to weave this pillar of argumentationthroughout the entirety of this thesis. Lastly, especially given the peculiarly unreflectiveesteem conferred upon art in the twenty-first-century, this thesis embodies a call to action. Inparticular, I make the argument that humanity expects and demands far too little of art. That isto say, 'too little' given the sui generis cognitive, ontological, and didactic significance of art.As such, this thesis seeks to uncover what is occluded by the predominantly unreflectiveattitude toward art. My view is that the nature of the content that is occluded warrants theconstruction of a contentious cross-disciplinary bridge between the natural sciences and thehumanities, and across what I refer to as the generational river of f...

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