Alfonsina Scarinzi's Aesthetics and the embodied mind : beyond art theory and the PDF

By Alfonsina Scarinzi

The venture of naturalizing human consciousness/experience has made nice technical strides (e.g., in mapping components of mind activity), yet has been hampered in lots of situations through its uncritical reliance on a dualistic “Cartesian” paradigm (though as a number of the authors within the assortment indicate, assumptions drawn from Plato and from Kant additionally play a role). the current quantity proposes a model of naturalism in aesthetics drawn from American pragmatism (above all from Dewey, but in addition from James and Peirce)―one primed from the beginning to determine people not just as embodied, yet as inseparable from the surroundings they have interaction with―and presents a discussion board for authors from assorted disciplines to handle particular medical and philosophical matters in the anti-dualistic framework contemplating aesthetic adventure as a means of embodied meaning-making. Cross-disciplinary contributions come from top researchers together with Mark Johnson, Jim Garrison, Daniel D. Hutto, John T. Haworth, Luca F. Ticini, Beatriz Calvo-Merino.

The quantity covers pragmatist aesthetics, neuroaesthetics, enactive cognitive technology, literary stories, psychology of aesthetics, artwork and layout, sociology.

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Extra resources for Aesthetics and the embodied mind : beyond art theory and the Cartesian mind-body dichotomy

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Johnson experience can be meaningful. I call this the “aesthetics of embodied meaning” (or the “aesthetics of embodied life”), and I have explained it here mostly in terms of formal elements, images, image schemas, qualities (both pervasive unifying qualities and particular qualities of objects or scenes), emotions, and feelings, because these dimensions are too often overlooked in standard accounts of meaning, value, thought, and language. Aesthetics is about the ways embodied social creatures like us experience meaning, and these ways of meaning-making emerge from the nature of our bodies, the way our brains work in those bodies, and the structure of the environments with which we are in continual visceral interaction.

For example, our concept of a cup is not some abstract, intellectualized Platonic form of cuphood, but rather involves the activation of a functional neuronal cluster for the perceptual images I have of cups and for motor programs for interacting with a cup (reaching for it, touching it, grasping it, raising it to your lips, drinking from it). It also includes all of the feelings and emotional responses associated with cups and their role in our lives, plus any cultural significance cups might have within a particular societal context.

Bullough’s “aesthetic outlook” requires “putting the phenomenon, so to speak, out of gear with our practical, actual self; by allowing it to stand outside the context of our personal needs and ends – in short, by looking at it ‘objectively,’ as it has often been called …” ([5], 298–99). 3 This obsession with aesthetic disinterestedness was taken to its logical absurdity in Clive Bell’s ultraformalism in Art (1913), and also in Edward Bullough’s infamous treatment of “psychical distance” as a model for the aesthetic attitude – the proper distanced stance for perceiving the aesthetic qualities of an object [5].

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