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 circumstances by way of its uncritical reliance on a dualistic “Cartesian” paradigm (though as many 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 determine humans not just as embodied, yet as inseparable from the surroundings they have interaction with―and presents a discussion board for authors from varied 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 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 technological know-how, literary stories, psychology of aesthetics, paintings and layout, sociology.
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Additional resources for Aesthetics and the embodied mind : beyond art theory and the Cartesian mind-body dichotomy
I cannot help but observe the irony that Bell was penning this vision of transcendent perfection and release from the affairs of human existence – as if art were an other-worldly reality that could take us beyond the cares of our lives – on the eve of Britain’s catastrophic plunge into the hell of the Great War. The juxtaposition of Bell’s supernatural realm of timeless beauty (or “significant form”) with the ugly tragedy of modern warfare that was about to be unleashed on the world, could not be more stark.
3 Kant, of course, does not say that we cannot also have a practical interest in the object of our aesthetic appreciation, but only that we must never allow any relation of the object to our interests, life emotions, or vital ends to be the basis of a pure judgment of taste. Unfortunately, many subsequent philosophers of art latched onto the doctrine of disinterested judgment and what they called the “aesthetic attitude” as the key to a proper experience of an artwork. Kant’s idea of disinterested satisfaction was taken to its absurd extremes in the work of Clive Bell, who ridiculously pontificates “For, to appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs, no familiarity with its emotions.
In other words, aesthetics is not merely a matter of aesthetic experience and art, but extends further to encompass all of the processes by which we enact meaning through perception, feeling, imagination, and bodily movement. In this essay, I hope to make a strong case for expanding the scope of aesthetics to recognize the central role of body-based meaning, with the arts then regarded as instances of particularly deep and rich enactments of meaning. In short, I will argue for the centrality of aesthetics in the very possibility of human meaning and fulfilled experience.
Aesthetics and the embodied mind : beyond art theory and the Cartesian mind-body dichotomy by Alfonsina Scarinzi