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

By Alfonsina Scarinzi

The venture 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 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 additionally 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 diversified disciplines to deal with particular medical and philosophical matters 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 technology, literary experiences, psychology of aesthetics, paintings 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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2 Indeed, Kant insists that judgments of taste have a “universal subjective validity”, in contrast to knowledge judgments that have “universal objective validity” that is based on shared concepts ([19], 62). 26 M. Johnson to enter into debate about the proper interpretation of Kant’s aesthetic theory. Rather, I simply want to observe that Kant’s legacy in the philosophy of art and aesthetic judgment is what Hans Georg Gadamer calls “the subjectivisation of aesthetics in the Kantian critique” ([14], 39), for, after Kant, the problem of aesthetic judgment comes to be framed as how a judgment that is “merely subjective” – as based on feelings – can lay claim to universal validity.

The same thing is true of the “quality” of a person or of historic events” ([10], 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. The qualitative unity is what gives rise to any later abstractive distinctions we can note within our experience. Moreover, any attempt to conceptualize that unity will necessarily select out some particular quality and thereby miss the unity of the whole qualitative unity of the situation.

2 Indeed, Kant insists that judgments of taste have a “universal subjective validity”, in contrast to knowledge judgments that have “universal objective validity” that is based on shared concepts ([19], 62). 26 M. Johnson to enter into debate about the proper interpretation of Kant’s aesthetic theory. Rather, I simply want to observe that Kant’s legacy in the philosophy of art and aesthetic judgment is what Hans Georg Gadamer calls “the subjectivisation of aesthetics in the Kantian critique” ([14], 39), for, after Kant, the problem of aesthetic judgment comes to be framed as how a judgment that is “merely subjective” – as based on feelings – can lay claim to universal validity.

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