Carlos Vara Sánchez

In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this assumption we will use classical art theory texts about the triptychs, as well as, among others, Deleuze’s texts about time image and the triptych structure, Agamben’s concept of kairos, the concept of kairological artwork coined by David Chan and the philosophy of temporality developed by Merleau-Ponty.

This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience.

This paper explores various notions of aesthetic affordance recently developed through embodied, situated and enactive approaches to aesthetic experience by Maria Brincker and Shaun Gallagher, and the similarities and differences between them and the idea of affective affordance put forward by Joel Krueger and Giovanna Colombetti. This discussion is a way to try to offer some answers to the question of what aesthetic affordances particularly afford compared to affective affordances. I will focus on the affordances that we perceive during various aesthetic experiences in which we find ourselves more moved by the object, event or person(s) causing the experience than we had anticipated. I will argue that these experiences emerge as opportunities to carry out an active exploration of aspects of the narrative self that we feel is related to features of the experience; and that one particular brain network likely to be involved in these experiences – i.e. the default network – might help us to understand how these experiences meaningfully change our relationship with ourselves and with the social context of which we are a part.

In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically autonomist approaches to art, assuming aesthetic experience to coincide with the disinterested contemplation of formal features, independently of cognitive, practical, and ethical implications, or whether the arts are considered an enhancement of the features of human expe- rience and developments of other human behaviours. The second part of the paper will investigate some recent developments in current neuroaesthetics and fresh enactivist proposals in the aesthetic field which display a tendency toward a non-reductive naturalism, views of the arts as continuous with other modes of behav- iour and more conscious attitudes about the risks of scientism within scientific in- vestigations. Generally speaking, we espouse an idea of culture as the natural development of human organic experience that involves new emerging properties depending on the re-organization of already existing natural resources and favour continuistic and emergentist views as more suited to dealing with specific prob- lems in the field of the arts and as better responding to the criticism of irrelevancy directed against the latter, compared to reductive naturalist approaches.

One challenge faced by aesthetics is the development of an account able to trace out the continuities and discontinuities between general experience and aesthetic experiences. Regarding this issue, in this paper, I present an enactive model of some raw cognitive dynamics that might drive the progressive emergence of aesthetic experiences from the stream of general experience. The framework is based on specific aspects of John Dewey’s pragmatist philosophy and embodied aesthetic theories, while also taking into account research in ecological psychology, cognitive sciences, and dynamic systems theory. The model focuses on dynamically relevant nodes at the pre-reflective and the reflective side of experience that would work as nested rhythmic constraints at different cognitive timescales with the potential to shunt experiences toward the aesthetic in everyday situations. My proposal constitutes a way to explore aesthetic experiences from an enactive perspective that regards them as transformative events in which cognitive processes entrain and are entrained by changes taking place in the environment, the brain, and the body.

The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will be characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding.

The aim of this paper is to advance, within the framework of enactivism, towards a more radically embodied and situated theory of emotions and, in general, of affectivity. Its starting point is that of discussing the well-established notion of bodily resonance (Fuchs 2013, Fuchs & Koch 2014, Fuchs 2018) and the primordial affectivity approach (Colombetti 2014). I will incorporate John Dewey’s theory of emotions, and recent models and empirical finding from cognitive science on the relation between perception and bodily activity (Azzalini, Rebollo & Tallon-Baudry 2019; Allen et al. 2019). The novel element proposed in this paper is taking into consideration the role of bodily oscillatory activity in the perceptual side of cognition through phenomena of relative coordination. This concept from dynamical systems theory allows for an enactivist view of emotions as temporal episodes triggered by a tension that affects the rhythmic interaction between brain, body, and environment. By defending the importance of this enacted rhythm, the body emerges as a truly active agent, gating and modulating affectivity during all the stages of the sensorimotor circuit from perception to action.

Rhythms are everywhere, both within and outside ourselves. Exploring the reciprocal interactions between these external and internal energy patterns means advancing our understanding of how we relate to the world. Aesthetic Rhythms is an interdisciplinary work that addresses the role of different aspects of rhythm – repetition, form, coordination, and energy – and notions such as entrainment and attunement in artistic and everyday aesthetic experiences, from dancing with other people to playing videogames, watching films or just strolling through an unknown city. Vara Sánchez discusses theories from different philosophical traditions, with particular emphasis on John Dewey’s pragmatist aesthetics, and empirical studies concerning the dynamics of our engagement with the environment. Building upon this framework, he offers an enactive account of the progressive emergence of the aesthetic from general experience.