Embodied simulation and experimental aestheticsUniversity of Parma and Columbia University
By exploiting the empirical approach of neuroscience and physiology, we can investigate the brain-body mechanisms enabling our interactions with man-made images, shedding light on the functional mechanisms enabling their perceptual experience. In so doing we can deconstruct some of the concepts we normally use when referring to aesthetics and art. According to Hans Gumbrecht (2004), aesthetic experience involves two components: one deals with meaning, the other one with presence. The notion of presence entails the bodily involvement of image beholders through a synesthetic multimodal relationship with the artistic/cultural artifact.
I will present some results of our research showing that the creative expressive processes characterizing our species, in spite of their progressive abstraction and externalization from the body, keep their bodily ties intact. Creative expression is tied to the body not only because the body is the instrument of creative expression, but also because it is the main medium allowing its experience.
Does matter matter? The iconicity of an-icons.Pierre Matisse Professor of the History of Art and Director of The Italian Academy for Advanced Studies in America
Problems of distinction. The stubborn persistence of embodiment. Some Lessons from Frieze. Handling. An-iconology is always iconology. The implications of such quibbles for interactivity.