tailieunhanh - Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experi- ence equally result from the dynamic interplay between agent and context, allowing for artist and viewer to relate to the artist’s work in similar ways | Situated Cognition Dynamic Systems and Art On Artistic Creativity and Aesthetic Experience Ingar Brinck Lund University It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience and furthermore paves the way for an account of how artist and audience can meet via the artist s work. The production and consumption of art is an embodied practice firmly based in perception and action and supported by features of the local agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic interplay between agent and context allowing for artist and viewer to relate to the artist s work in similar ways. 1. Putting Art into Context The production and consumption of works of art are distinct processes and as such rarely are considered together. Usually art production is dealt with by theories of creativity or portraits of the individual artist while the viewer s encounter with art is considered in analyses of aesthetic experience or explained by reference to empirical data about the mind brain. This approach makes it seem as if artist and viewer relate to art in radically different ways. It may appear reasonable inasmuch as the viewer s relationship to art in comparison to that of the artist is predominantly passive. Yet seen from a cognitive point of view artist and viewer have more in common than what distinguishes The present article aims to show that the core of artistic practice and aesthetic experience can be accounted for by the theory of situated cognition TSC as integrated with the closely related dynamic systems theory DST .2 TSC cum DST furthermore paves the way for an explanation of how artist and audience can meet via the artist s work. TSC and DST have only recently entered into the general discussion about the mind and brain and cannot be regarded as common ground. Several of the features that make

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