A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...) others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

Dem Alltagsverständnis zufolge bringt uns die Wahrnehmung in einen Kontakt mit der Wirklichkeit. Die Stabilisierung der Wahrnehmungsgewissheit ist tief im subjektiven Bildungsprozess verankert, hat sich alltagspraktisch bewährt und in der Sprache sedimentiert. Andererseits hat sich durch Erfahrungen kultureller Diversität und sozialer Differenz auch die Auffassung verbreitet, dass die Welt nur gleichsam durch die Brille spezifischer Herkünfte und Zugehörigkeiten wahrgenommen wird. Die Spannung zwischen realistischen und konstruktivistischen Interpretationen des menschlichen Weltbezugs bildet die Ausgangssituation, mit der sich die Beiträge zu dem geplanten (...) Sammelband In Kontakt mit der Wirklichkeit. Interdisziplinäre Beiträge zur Situiertheit der Wahrnehmung auseinandersetzen. Ziel ist es, die Wahrnehmungsgewissheit des direkten Realismus zu verteidigen, ohne die berechtigten Einwände außer Acht zu lassen. Nicht nur der Begriff der Wahrnehmung wird dabei einer grundlegenden Prüfung unterzogen, sondern auch der Begriff der Wirklichkeit und mit ihm ein angemessenes Verständnis davon, als leiblich verkörperte Individuen in einer gemeinsam geteilten Welt zu sein. (shrink)

In this article we focus upon the embodiment of vulnerability as an area in which medicine, society and the humanities can be profitably conjoined. We illustrate our argument with two interrelated case studies of narratives of the embodiment of ageing and longevity. First, we draw upon Leoš Janáček’s opera The Makropulos Case (1926) as a locus for debates about human longevity. Second, we discuss 70-year-old Janáček’s decade of unrequited love for a woman 37 years younger than himself, through an examination (...) of their intimate letters. We suggest that both the opera and elements of Janáček’s biography illuminate the passionate emotions that are often hidden behind ‘the mask of ageing’. Finally, we propose that a focus on the embodiment of vulnerability is a productive catalyst for research on narratives of ageing. (shrink)

This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...) part. My disagreement, how ever, does not annul the evident quality of the argument in this w ork. It is recommended reading material for all those aestheticians w ho are interested in the cognitive and non-cognitive functionality of art w orks and in the possibility of any influence of art on societal change. I w ill now discuss the most crucial steps in Crow ther's argument. Postmodernists claim to have undone the alleged rigidity of modern categories, like that of the autonomous subject, but according to Crow ther they reach this `achievement' by overemphasizing the fluidity of modes of know ledge and experience, and of their status as social constructs, but there may w ell exist flexible constants. Aesthetics can help w ith the analysis of these flexible constants, not by looking for the essences of art or aesthetic experience, but by supplementing our theoretical assessments w ith a critique of art. Crow ther proposes to view aesthetic experiences as w ell as w orks of art as functions of critical aw areness and of body-hold, an historicized version of Merleau-Ponty's much neglected notion of embodiment. Critical aesthetics actualizes the critical aw areness involved in our aesthetic experiences. Art, defined in terms of originality, roots in the body-hold of the artist, w ho moulds his medium to solve technical problems traditional art forms confront him w ith. Postmodernism involves only tw o theses, really. First, contemporary experience and sensibility are analyzed as imbued by the shocks generated by the rapid succession of mechanically reproduced events.. (shrink)