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 by means 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 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 offers a discussion board for authors from various disciplines to deal with particular clinical and philosophical matters in the anti-dualistic framework contemplating aesthetic adventure as a strategy of embodied meaning-making. Cross-disciplinary contributions come from best 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 reviews, 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
When he gets to “What a glooo-ri-ous feeeeel-ing” he slides upward from “glooo” (low D) to the “ri” (middle G), up to the “ous” (middle A), and even higher up to “feeeeel” (middle C), followed by a flowing drop down to “ing” (middle A). The effect is the felt swelling of positive feeling gushing up and dropping down slightly as it pours out. Analyzing the melodic contour in terms of tones strikes us as almost ridiculous, because the fact is, we just immediately feel the expansive, floating, joy when we hear Kelly sing.
In a work of art, Dewey says, “its quality is not a property which it possesses in addition to its other properties. It is something which externally demarcates it from other paintings, and which internally pervades, colors, tones, and weights every detail and every relation of the work of art. The same thing is true of the “quality” of a person or of historic events” (, 245). The important thing about the meaning of a pervasive unifying quality of any life situation, person, or work of art is that it is felt before it is known.
Unsophisticated and overly simplistic imitation theories of art mistakenly place the value of an artwork in its ability to represent something other than itself, such as some aspect of an external, mind-independent reality. This imitation-as-copying account of mimesis evokes the obvious question of why anyone would want such an imitation, if they could get the “real” thing (object, event, experience)? Once we realize that works of art do not re-present objects, events, meaning, knowledge, or experience, but instead that they present and enact possibilities for meaning and value in an exemplary manner, only then will we understand the significance of art.
Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy by Alfonsina Scarinzi