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To wonder about the human condition is normal practice for scientists, writers, sociologists, and experts from various disciplines and studies carried out for many reasons. Do it for a decade analyzing and investigating especially the aesthetic dimension has led to a result of "a remarkable synthesis (...) which represents an important contribution to the redefinition the concept of aesthetics and creativity "as he writes in the afterword by Victor Welsh" Beauty and the Mind. " And Welsh, of studies and important they will be seen that, along with others, the neuroscientist who discovered the existence of mirror neurons. Author of the essay "Beauty and the Mind", 250 pages full of studies, analysis, observations and reflections of great interest is Ugo Morelli scholar and professor of psychology of creativity and innovation, besides of Psychology of work and organization and editor of Corriere Trentino. The book, published by Allemandi, will be in bookstores by mid-September, but an initial presentation, national, is scheduled Friday, August 27 Comano in Trentino copyright. Morelli in his latest work "is not afraid to cross disciplinary boundaries and fences" and, with great attention to the epistemological aspects (namely those concerning the relationship with oneself as a conscious entity to know and the know), he manages with great ability to put into dialogue with the philosophy of biology and psychoanalysis and the neurosciences. All
to explore the commonality between art and science, to investigate how "the ability of humans to express acts of beauty" may be attributed to the natural powers and how "the results of their operation" may part of their processes and phenomena of nature. What distinguishes human nature from nature generally understood? The perspective developed by Ugo Morelli begins with a fundamental question of why human beings are capable of conceiving and thinking about the aesthetics and knowledge as a right place and know what to think is the patrimony of the whole animal world? What is the distinction of human experience? And, in reference to knowledge and aesthetics, what is the point of combination and integration of science and philosophy? What mechanism allows the human species, a species which has become symbolic powers "only" one hundred thousand years ago, to rise by stopping and re-creating a link between the subject and the world, characteristic of aesthetic experience? As a capacity to shape products and give them a meaning that would of course not? The experience of creating and knowing, Morelli says, is in its fullest sense "view of reality as digit code" that refers to a further sense, to other possible worlds. But because the human being has access to the experience of creativity requires a voltage of a particular state that Morelli called "tension rinviante" where the adjective is understood as a movement of the preparation, prepare to something else. It is in this condition that Homo sapiens is recognized and becomes recognizable. Only through this tension, which is characteristic for the human species originated the relationship between the real world and the "possible" and only through "possible" the symbolic species stands. The real is the bond that allows homo to express himself well, going away from you, to explore different from him, until, no longer coincide with itself, Homo sapiens becomes a relationship. And just when the report "we create human", while we recognize "our incompleteness and our absence." And this is where the mind is powerfully into play as it is clear as a system that not only responds to internal or external stimuli, but through the reports, and select active strategies, making choices among infinite possibilities, create new contexts and destroys them, always fed by the imagination and fantasy, the lifeblood of capability to be built and Homo sapiens. Through "the tension rinviante"-Morelli writes - "we stop the practice and we will protrude above the existing one, the constant search for meaning." The creative aesthetic experiences analyzed in the essay by Morelli: artistic creation, the birth of scientific hypotheses, falling in love and love, the genesis of the sacred and the planning policy.
Fascinated by the beauty and everything that generates, creates and invents possible worlds, Ugo Morelli calls to his work table, two of the most creative poets: John Keats, which is recognized as an exemplary ability to pause in reflection "to recognize and acknowledge the world we create and the ability to continue to create and Joseph Brodsky has argued repeatedly that the urgent and important to choose between vulgarity and beauty, in a time where you get it from the vulgar mistress. "For a human being there is no other future except what promises art," writes Brodsky, Nobel prize for literature in 1987: studies and analysis in "Beauty and the Mind" just seem to lead us in that direction. "Beauty - Morelli writes - is not an individual matter. In addition to educational relationships that can support access to creativity, decisive policy to create conditions conducive to the affirmation of beauty. " Morelli argues that no area is exempt from un'educabilità mind, least of all because the political, the aim of policy should not be "to align the company to a pre-existing order," but through good management conflicts create, develop new solutions . And the conflict is a necessary evolution of experience in particular of imagination and creativity. E 'in a perspective of conflict that is part of "the aesthetic act" which, Morelli says, is nothing more than "a distancing conflict with the world which each of us is a part." Because aesthetic experience is manifested on the ridge between "being there and becoming."
Designing an "I" without a "we" now seems very outdated, since it is the relationship that builds and allows us to redefine the idea of \u200b\u200bourselves in relationship with the mind, the brain and the world. The human species is engaged with two symmetrical movements difficult and support from research more in-depth: the first is "to bring the mind into the body and brain, arguing that the mind is what the brain does (embodiment, incarnation), the second" seeks to put the mind in relation to others " bringing out this way, "excess" of evolution. Both of these movements, however, reminds us Ugo Morelli, constitute a true evolutionary leap and with the re-figuration of what it means to be human. " The understanding of the new perspective of the mind that the research field of neuro science require us is not easy. Just as it is easy for the human mind, change your mind.

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and beauty of mind and beauty. Art, creativity, innovation (presentation form)

Ugo Morelli

Beauty Mind and Art, creativity, innovation
Allemandi Umberto & C. Turin 2010

"The art was invented to accompany the people in the illusions of life
"
[Ettore Sottsass jr.]

"Reality is for those who can not sustain the dream"
[Slavoj Zizek]

The beauty can come in many sizes in our lives and in our experience. It may have something to do with a fee that is stated in a while and change over time. It can be used for forms different expression and the appearance of an object or person. The beauty is concerned, however, the conception of self and the fullness of their own feelings about themselves and the world. In this sense, may indicate the ability to listen to the echoes of his inner world in relation to others and the outside world. In this sense comes to style, meant as a gesture to the world. Can finally describe the development of the aesthetic conflict that led us to seek an expression of ourselves beyond the limits of our own possibilities. Among the creative act or the act of the artist and the poet's creative experience for all of us there is a difference in intensity but also continuity. Nadezhda Mandelstam wrote:
"It seems to me that a poet inner hearing hallucinations are a kind of occupational disease. The poem begins like this. Many poets have said [... ..] to their ear sounds obsessive, preliminary information, then more and more defined, but still without words, a musical phrase. It occurred to me several times to see Mandelstam who was trying to get rid of one of these tunes, of scuoterselo off, to escape its power. Shook his head as if to release a drop of water penetrated into the ear during bathing.
Each of us has had at least once traversed by the need to express something that feels and connects his inner world to the other and the outside world. The development of the tension can give rise to creative processes and the recognition and sharing can create aesthetic experiences.
We have become a kind creative by nature and the power to be different from ourselves is the daughter of our evolution.
Every creative act, including the option of foundational research of this book lies in the point of contingency between past and future. It is a dramatic gesture, at least partial disruption of the consolidated horizons, where the story becomes the secure base for his own passing. At a time when the voltage rinviante, which generates the creation, we find and resonates with another in a relationship and in context, gives rise to aesthetic experience, as social and relational experience.
least once in their lifetime each of us will be asked what enchants us in front of a landscape? Why are we moved by a symphony? When we get lost in a painting or a sculpture in the form of what is happening to us? Why create or deal with the new, what was not there before, attracts us and makes us fear the same time? How does a line from a poem to resonate within us to tears?
If we ask what makes their human history and related situations such as those described above, the contents of this book may provide some answers. It is the experience aesthetics unite to situations in which we live the unexpected, the advent of what was not there before, the sudden flash triggering a creation, activation of embodied resonance that supports the recognition and sharing . What do we mean, then. when we talk about art and aesthetic experience? This book, the result of ten years of multidisciplinary research, suggests that the aesthetic experience, art and creativity, they have to do with an evolutionary peculiarities of human beings, the voltage rinviante, which distinguishes us as individuals, not relational never coincide with themselves and with what they already are. In this tension emerges artistic creation and creativity in human life as we know, since we are a species naturally creative. The imagination and creativity, enabling us to invent possible worlds, not merely the result of cognitive activities seem to separate from the body, but embodied minds and their relationship with the emergence of feelings and emotions of life.
The tension that distinguishes us refer to the liminal, that at the margin of ourselves where we are confronted with transcendence and terror; inevitable, concerning the impossibility of doing without the express power to seek and create; all'inaudito , characterizing the intermittent and the unexpected, the surplus that transcends the usual the useful existence, the universal, to wait for recognition of what is expressed and created. The tension rinviante, from which emerge creative and aesthetic experiences, expresses itself, as suggested in this book, in at least five areas: artistic creation, the birth of scientific hypotheses, falling in love and love, the genesis of the sacred; the planning policy.
Robert Louis Stevenson, thinking of the great literature, spoke of its "plastic", ie the ability to represent the deeper inner feelings with words describing the simplest everyday actions.
aesthetic emotions, feelings and experiences creation and consumption that emerges from them, on which the chapters are concentrated, are owned in the evolutionary history of our species. With the aesthetic experience we humans realize clearly the distinction in our work towards the discontinuity and the creation of starvation, since every individual of the species characterized by the power of imagination and scope, that opportunity which allows us to go beyond the ' existing and to generate the usual one that was not there before. The ability to create and invent new cultural objects seems to be a species specific trait of human beings, it not only has to do with learning, but also with the imagination, imagination, invention reports and sharing of new cultural objects. Our
generativity is biological-evolutionary and creative at the same time. A relational approach to naturalism, non-reductionist and interactionist with neodisciplinare vocation, can help to integrate knowledge to achieve an appropriate vision of the relationship between the human mind, art, creativity and innovation. We can now claim that in aesthetic experience is as if natural selection was the piano tuner and human distinction was the composer of symphonies. To this we have come through our evolution. The book aims to recognize the historic-evolutionary, neuro-phenomenological relational and aesthetic experience. The aim is to live the uniqueness of the creative human evolution with its emergence. Examination of the deep core of artistic creation show that the processes by which we come is to express creativity in everyday life, such as composition and recomposition of the original repertoire available, and the expression of those stocks that they know of eternity, in perfect outcomes all their fold, which are works of art.
It turns out connections and differences between the various manifestations of that size that is distinctive of human non-coincidence with oneself and the power to search rinviante of starvation, of what was not there before. E 'to this book argues that the hypothesis of human experience that we are establishing the creative tension and discontinuity of unprecedented horizons in artistic creation, elaboration of the sacred, in the formulation of scientific hypotheses, in planning policy and in love. The development of the hypothesis is contained, particularly in the three chapters of the book. The five subsequent chapters investigate the various aspects of aesthetic and creative, from a "journey" in the mind of the viewer of art, to try to recognize the similarities with the mind of the designer and artist. The processes of resonance embodied, to the most unique expressions and sublime, the comic ecstasy, aesthetic experience, are considered in the light of knowledge concerning the human mind relationship. The last three chapters are devoted to the constraints and possibilities of imagination and aesthetic experience, with particular regard to the processes that help or hinder the genesis of human creativity. The images in the book take the form of four texts that document some of the passages identified the extent and creative expression. Those images are so many icons of the countless everyday situations in which the aesthetic experience emerges within and around us.


How did I get to develop my research and extension creative aesthetic experience, as traits essential to understand the history, present and possible for us humans?
I have come to take care of the aesthetic and human creativity as an evolution of research interests relating to the original relational, intellectual, symbolic of some of the most important issues of individual and social life. Were originally aspects of cognitive dissonance and cultural discomfort and emotional experiences of migration. I am particularly interested in the psychological implications as disorientation and melancholy. Dissatisfaction with the dominant disciplinary approaches made me welcome signs of evolution and epistemological paradigm in place in the mid-70s years of the twentieth century. Emerged a growing interdisciplinary focus and a choice towards the epistemological orientation of complexity. The need to rely on naturalistic epistemology and research methods and theories of the human sciences of life, became the main inspiration for my research work. Among the first objects of study, there were intangible and symbolic aspects of human work and organizational life, along with the intangible dimensions of care work, education and service.
Oriented and driven by Pellicciari John Elliot Jaques began to study and met in Milan at Luigi Pagliarani antiH Group. So I went to the deepest dimension of the dynamics of the inner world as a source for the understanding of the most distinctive aspects of human experience.
It became increasingly evident, however, the attraction exerted upon me the human mental processes and, in particular, learning, conflict and the relationship between conformity, discontinuity and innovation.
The meeting with the thought of Gregory Bateson, Jerome Bruner, Paul Watzlawick, Francisco Varela, Heinz von Foerster, marked a turning point toward foundational importance of the relationship, communication, sense and significance in the study of human behavior.
I soon realized that such phenomena as learning, organization, work and conflict have common matrix in the processes that govern human relationships and the constraints and opportunities to learn and change your mind.
once again were the symbolic imagination, creativity and deep level of the phenomenology of experience to be relevant for understanding the behavior and experience of human beings.
The interest of my research has thus increasingly turned to the analysis of human responses to the pressing events of impermanence, of the gap, dell'indecidibile, uncertainty as generative sources of creativity and innovation. This has come forward the hypothesis that human distinction, emerging from evolutionary processes, concern in a particular way our creativity. We are a creative species that tends toward the unusual, what is not there. At the same time it has become important to study the defensive systems that activate in the face of transience. Together with the primary and secondary anxiety emerging in the dynamics of social ties, creative action and the design and build project of starvation are matters of high importance for the identification, self-extension experience human. Their consequences affect not only life but also social learning, education and democracy.
The connection between cognitive science, neuroscience and phenomenology, in particular along the lines of Francisco Varela and Victor Welsh, allowed me to address, in research and education and training applications, the area of \u200b\u200binterdependence between aesthetic experience, art, creativity and innovation that is the basis of this book. The formulation of the hypothesis of tension rinviante as distinctive species-specific homo sapiens is further defined in the book chapters and is now given to discussion and comparison. That hypothesis explores the border and the edge, where we become human, where everyone creates and becomes himself, explores the transience of experience consisting own aesthetics, art and beauty, but also the essence of life, come to think.

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Ugo Morelli, mind and beauty. Art, creativity, innovation, Umberto Allemandi & C., Torino 2010. Afterword by Victor Welsh.

Everyone seeks his own way to express himself. This sets us apart and makes us human: our ability to build and create for ourselves, including constraints and opportunities. Own creativity, art and innovation are at the heart of the book Mind and Beauty. Art, creativity, innovation, published by Umberto Allemandi & C., Torino 2010. We create not only art, but also rules and transgressions, we create when we design a tool, an institution or an artifact, a text or a technology for writing it. We are the creators of our culture and the meaning and significance we give to everything. We also created to indicate the word poiesis is our ability to create that do everything from war to poetry. When the world resonates within us in order to inspire a special expertise or because of elevation or generate something directly in front of something that other genres, but also because we are caught and trapped in a landscape, a sunset, a person or a flower, we are in the space of wonder, of the beyond, the not yet. That space is the aesthetic experience. You there that we discover that we are made so as not to coincide with ourselves and never stretch beyond, to refer constantly to what is still there. In the continual delay and we identify ourselves we become. And always in that game between reality and imagination, we experience the beauty of the value generated. When work is concerned, a person or situation, both when it concerns our inner world and the expression and realization of ourselves. Creativity and aesthetic experience involved in our lives and emerge in relations with others may be more or less acknowledged in work situations and in everyday life. It all depends on how much room there is for freedom imagination and innovation in the internal relations to places of education, work and life. One of the aims of the book, next to its function as a study of creative processes and aesthetic experience, it is to highlight the creative potential and their practice in our experience, establishing a close connection between art, creativity and innovation. The text outlines the conditions under which you can recognize a larger space for creativity and effective in our experience and how the sense of the possible results may promote the expression of imagination and innovation in our lives.

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