Aesthetics and the embodied mind : beyond art theory and the - download pdf or read online

By Alfonsina Scarinzi

ISBN-10: 9401793786

ISBN-13: 9789401793780

ISBN-10: 9401793794

ISBN-13: 9789401793797

The undertaking of naturalizing human consciousness/experience has made nice technical strides (e.g., in mapping parts of mind activity), yet has been hampered in lots of situations 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 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 offers a discussion board for authors from assorted disciplines to deal with particular medical and philosophical matters in the anti-dualistic framework contemplating aesthetic event as a strategy 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 technology, literary reports, 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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His gait is open, free, graceful, and flowing, without hint of trouble or tension. ” Don pauses, his face uplifted toward the rain, shrugs his shoulders, and closes his umbrella, embracing the rain pouring down on his grinning countenance. ” The arch up from “I’m” to “siiiing” is a felt rush of positive emotional tension – a surging up of sheer joy – mirrored in his floating walk, his upturned face, and his open posture. The melodic contour rises and falls as he saunters. 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).

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Aesthetics and the embodied mind : beyond art theory and the Cartesian mind-body dichotomy by Alfonsina Scarinzi


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