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 situations by means of 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 determine humans not just as embodied, yet as inseparable from the surroundings they have interaction with—and offers a discussion board for authors from different disciplines to deal with particular medical and philosophical matters in the anti-dualistic framework contemplating aesthetic adventure as a technique of embodied meaning-making. Cross-disciplinary contributions come from top 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
Johnson experiences, including the visual perspectives I can have on it, the ways I can grasp it and use it to drink, the social contexts in which it plays a role, all the past experiences I’ve had with this and other cups, and a host of future interactions I might have with it as projected possible meanings. I am adopting what is known as a simulation semantics [2, 4, 13], according to which having a meaningful concept or thought of an object or event involves running a cognitive simulation of a range of possible experiences afforded you by that object or the scene enacted in the event.
But we have not yet freed ourselves from the oppressive yoke of a view that makes art irrelevant to daily life, by extracting it from the visceral meaning of our mundane affairs of living. As Tolstoy  argued so vehemently, aesthetics has too often become a parlor game of those wealthy enough to afford museums, concerts, and performances, who then tout the eternal excellence of their preferred artistic achievements, while recognizing no concrete connections to daily existence. John Dewey wrote Art as Experience  in part to counteract what he perceived to be the disengagement of art from life, especially the removal of art into museums, where artworks supposedly become eternal objects of pure aesthetic appreciation.
Chicago: University of Chicago Press. 24. Neill, Alex, and Aaron Ridley. 1995. The philosophy of art: Readings ancient and modern. New York: McGraw-Hill, Inc. 25. K. Ogden. 1923. The meaning of meaning. New York: Harcourt Brace and Company. 26. Schulkin, Jay. 2011. Adaptation and well-being: Social allostasis. Cambridge: Cambridge University Press. 27. Sheets-Johnstone, Maxine. 1999. The primacy of movement. Amsterdam: John Benjamins. 28. Taub, Sarah. 2001. Language from the body: Iconicity and metaphor in American Sign Language.