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 instances 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 additionally from James and Peirce)―one primed from the beginning to work out people not just as embodied, yet as inseparable from the surroundings they have interaction with―and offers a discussion board for authors from assorted disciplines to handle particular medical and philosophical concerns in the anti-dualistic framework contemplating aesthetic event as a means of embodied meaning-making. Cross-disciplinary contributions come from major 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 technological know-how, literary stories, psychology of aesthetics, paintings and layout, sociology.
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Extra resources for Aesthetics and the embodied mind : beyond art theory and the Cartesian mind-body dichotomy
The felt rhythm of the waves comes from our parsing of the motion realized by each succeeding phrase of the lines: draw back/and fling/at their return/up the high strand/begin/and cease/and then again begin … Each unit of these lines presents an event of the back and forth motion that you feel of the waves moving up and down the beach. In other words, our understanding of the poem operates through our sensory and motor simulation of the events presented therein. If you doubt that we live for qualities, then you are out of touch with yourself and your world, for qualities provide the most primordial meaning available to us prior to, and underlying, any conceptual abstraction or conscious reflection we might engage in.
Damasio explains that feelings are first and foremost about the body, that they offer us the cognition of our visceral and musculoskeletal state as it becomes affected by preorganized mechanisms and by the cognitive structures we have developed under their influence. Feelings let us mind the body, attentively, as during an emotional state, or faintly, as during a background state… . Feelings offer us a glimpse of what goes on in our flesh, as a momentary image of that flesh is juxtaposed to the images of other objects and situations; in so doing, feelings modify our comprehensive notion of those other objects and situations.
Edu © Springer Science+Business Media Dordrecht 2015 A. 1007/978-94-017-9379-7_3 39 40 J. Garrison embodied “sense” and meaning as linguistic “significance,” along with what the two of them together imply for mental functioning and aesthetic experience. Johnson’s philosophy of embodied meaning and aesthetics advances a twofold hypothesis. First, “aesthetics is not just art theory, but rather should be regarded broadly as the study of how humans make and experience meaning because;” second, “the processes of embodied meaning in the arts are the very same that make linguistic meaning possible” (200).
Aesthetics and the embodied mind : beyond art theory and the Cartesian mind-body dichotomy by Alfonsina Scarinzi