Aesthetics and the Embodied Mind: Beyond Art Theory and the by Alfonsina Scarinzi

By Alfonsina Scarinzi

The undertaking 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 few 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 work out humans 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 strategy of embodied meaning-making. Cross-disciplinary contributions come from prime 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 reports, psychology of aesthetics, artwork and layout, sociology.

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Extra info for Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy (Contributions To Phenomenology)

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In other words, out of our bodily interaction with our environmental affordances, we take the meaning of things and events in certain specified ways, according to specific interactional patterns. George Lakoff [20] and I [15] have called these recurring patterns of interaction image schemas. For example, given our bodily makeup and the contours of our physical environment, verticality is a fundamental meaning structure for creatures like us. Hence, “up” and “down” are used to mark all sorts of significant relations, from simple physical orientations (“he went up the hill”) to abstract metaphorical relations (“She climbed the ladder of success,” “Prices rose overnight,” and “He went up the chain of command to get authority to act”).

However, this does not challenge the hypothesis that positive and negative emotions arose over evolutionary history to help types of higher organisms survive, realize well-being, and avoid harm. That these pleasurable feelings can be activated by ultimately harmful substances and situations is simply a reality of contemporary global events and practices. 34 M. Johnson The arts can allow us to experience the aesthetic dimensions of emotions in an intensified and nuanced manner that is often not available in our day-to-day living.

Behavioral and Brain Sciences 22: 577–660. 3. Bell, Clive. 1914. Art. London: Chatto and Windus. 4. Bergen, Benjamin. 2012. Louder than words: The new science of how the mind makes meaning. New York: Basic Books. 5. Bullough, Edward. 1912. Psychical distance as a factor in art and an aesthetic principle. British Journal of Psychology 5: 87–118. 6. Damasio, Antonio. 1994. Descartes’ error: Emotion, reason, and the human brain. P. Putnam’s Sons. 7. Damasio, Antonio. 1999. The feeling of what happens: Body and emotion in the making of consciousness.

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