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.
