scholarly journals Embodied Simulation. Its Bearing on Aesthetic Experience and the Dialogue Between Neuroscience and the Humanities

2019 ◽  
Vol 41 (2) ◽  
pp. 113-127 ◽  
Author(s):  
Vittorio Gallese
Keyword(s):  
Visual Arts ◽  
Aesthetic Experience ◽  
Interpersonal Relations ◽  
Cultural Practices ◽  
The Self ◽  
Embodied Simulation ◽  
Functional Mechanism ◽  
Neural Underpinnings

Summary Embodied simulation, a basic functional mechanism of our brain, and its neural underpinnings are discussed and connected to intersubjectivity and the reception of human cultural artefacts, like visual arts and film. Embodied simulation provides a unified account of both non-verbal and verbal aspects of interpersonal relations that likely play an important role in shaping not only the self and his/her relation to others, but also shared cultural practices. Embodied simulation sheds new light on aesthetic experience and is proposed as a key element for the dialogue between neuroscience and the humanities within the biocultural paradigm.

The Baroque and Philosophy

2018 ◽  
pp. 601-622
Author(s):  
Michael Moriarty
Keyword(s):  
Modern Philosophy ◽  
Early Modern ◽  
Visual Arts ◽  
Common Sense ◽  
The Self ◽  
Early Modern Philosophy ◽  
The World ◽  
Baroque Art ◽  
Art And Architecture

Although the concept “baroque” is less obviously applicable to philosophy than to the visual arts and music, early modern philosophy can be shown to have connections with baroque culture. Baroque style and rhetoric are employed or denounced in philosophical controversies, to license or discredit a certain style of philosophizing. Philosophers engage with themes current in baroque literature (the mad world, the world as a stage, the quest for the self) and occasionally transform these into philosophical problems, especially of an epistemological kind (are the senses reliable? how far is our access to reality limited by our perspective?) Finally, the philosophies of Malebranche and Berkeley, with their radical challenges to so-called common sense, and their explanation of conventional understandings of the world as based on illusion, have something of the disturbing quality of baroque art and architecture.

Visual Noise as a Painting Method. An Attempt to a Manifesto

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Bogdan Alexandrov ◽  
◽  
◽  
Keyword(s):  
Visual Arts ◽  
The Self ◽  
Visual Noise ◽  
Artistic Practice ◽  
Digital Arts ◽  
Privileged Position

In the era of image, painting loses its privileged position on the typological scale of visual arts. The horizontal leveled order changes essentially its coordinates to transform them into a media, equivalent to visual arts based on technology and/or time. The change does not happen without resistance. We find traces and testimonies of the desire to preserve the “self-centered” memory of the ever-prevailing painting in the attributed elements of initially considered to be her denials – photography and digital arts. We are witnessing a strange paradox – in an attempt to preserve itsclaiming perfection nature, painting recognizes the inherentin technology imperfections. The report discusses the visual noise as a possible painting method, demonstrated in the author’s artistic practice and specifically stated in several cycles of works, presented at four exhibitions.

Unpacking the self

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 29-37
Author(s):  
Manju Sharma
Keyword(s):  
Visual Arts ◽  
Personal Narrative ◽  
The Self ◽  
Cross Linking ◽  
Artistic Practice ◽  
Content Type ◽  
Personal Stories ◽  
The World ◽  
Visual Artist ◽  
Sensitive Issues

Abstract In this essay, visual artist and writer Manju Sharma reflects on the use of autobiography as a methodology for storytelling in the visual arts. She focuses on the methods that she uses to explore the self and its relatedness to the world that she wishes to grasp. She also sheds light on how autobiography fits into her artistic practice as a means of finding hidden narratives and to keep the personal narrative related to the world. The essay touches upon the use of personal stories, cross-linking and note-taking to unpack everyday sensitive issues that can allow people to find their voice and to speak out.

scholarly journals Embodied Mind and Neural Underpinnings of the Aesthetic Experience. A Case Study from the German Eighteenth Century: 4E Cognition Theories Forecasted by Johann Gottfried Herder

2021 ◽  
pp. 13-30
Author(s):  
Renata Gambino ◽  
Grazia Pulvirenti
Keyword(s):  
Aesthetic Experience ◽  
18Th Century ◽  
Johann Gottfried Herder ◽  
Scientific Debate ◽  
Late 18Th Century ◽  
4E Cognition ◽  
Neural Underpinnings ◽  
The Aesthetic ◽  
Core Issues

Recent theories within the avenue of the bio-cultural turn, and particularly about embodied cognition are forecasted in the anthropological, philosophical, physiological and scientific debate of the late 18th century in Germany. Philosopher and theologian Johann Gottfried Herder contributed to this discourse sigificantly, opening up new perspectives on the link among thought and language and body. In this paper we aim at highlighting some core issues of Herders’s discourse about knowledge, perception and cognition, that seem to anticipate some of the most recent 4E Cognition issues.

scholarly journals Questions for the Psychology of the Artful Mind

Vision ◽  
2019 ◽  
Vol 3 (4) ◽  
pp. 67
Author(s):  
Carmelo Calì
Keyword(s):  
Visual Arts ◽  
Psychological Factors ◽  
Aesthetic Experience ◽  
General Purpose ◽  
Cognitive Capacities ◽  
Research And Teaching ◽  
Psychological Theories ◽  
Teaching Psychology ◽  
Psychology Of Art

This paper reconstructs the “Arnheim’s puzzle” over the psychology of art. It is argued that the long-established psychological theories of art do not account properly for the observable variability of art, which provide the phenomena of interest whose psychological factors need to be discovered. The general purpose principles of such theories, the ensuing selective sample of art phenomena, and assumption of conventional properties of aesthetic experience make the predictions and the findings of the theories unrepresentative of art. From the discussion of examples drawn from contemporary visual arts and the presentation of the debate on the emergence of the cognitive capacities of art in paleoanthropology, a construct is presented on the specificity of the cognitive capacities of art and its anchoring to perception, which solves the puzzle and has implications for research and teaching psychology of art.

scholarly journals Interrogating the Notion of Self, ‘Mind’ and Personhood in Tangkhul Naga Tradition

2019 ◽  
Vol 68 (1) ◽  
pp. 60-75
Author(s):  
Yuimirin Kapai
Keyword(s):  
Cultural Practices ◽  
Cultural Models ◽  
The Self ◽  
Internal Organs ◽  
Central Concept ◽  
Conceptual Foundation ◽  
Mental Faculty ◽  
The Social ◽  
Central Argument ◽  
The Brain

The article attempts to examine the conceptual foundation of the self, mind and personhood in the traditional thoughts of the Tangkhul Nagas and the social implications and cultural models that shaped these conceptualisations. Partly constrained by the scarcity of written accounts, I have closely looked at the language usage, etymology of words and cultural practices of the community. Ning (‘mind’) is the central concept. Rich embodied expressions associate thoughts and emotions with certain internal organs of human body. The soul resides in the liver, luck in the brain and feelings in the heart. Ning is said to be acquired. This raises the question of whether the acquisition of ‘mind’ strictly refers to an acquisition of the mental faculty or does it include social norms and other skills. Drawing from the philosophy of Mead, the central argument is that the self, mind and ‘significant symbols’ conflated in the idea of personhood.

The Aesthetic Experience: An Anthropologist Looks at the Visual Arts

Leonardo ◽  
1987 ◽  
Vol 20 (2) ◽  
pp. 198
Author(s):  
Allan Shields ◽  
Jacques Maquet
Keyword(s):  
Visual Arts ◽  
Aesthetic Experience ◽  
The Aesthetic
Sign in / Sign up

Export Citation Format

Share Document