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Habitus in Habitat II

Other Sides of Cognition

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Edited By Sabine Flach and Jan Söffner

Which are the aspects of cognition not yet focused on as such by brain research? How can one deal with them?
This book sheds light on the other sides of cognition, on what they mean for forms and figurations of subjective, cultural and social understanding. In examining nuances, exceptions, changes, emotions and absence of emotions, automatized actions and meaningful relations, states of minds and states of bodies, the volume searches new approaches to these phenomena in discussing the relation between the habitus – the habits and behavioral attitudes involved in cognition – and its embeddedness in a habitat. By opening a dialogue between artistic knowledge and the sciences, Other Sides of Cognition investigates novel avenues and concepts within science and research.
At a Berlin-based conference: Other Sides of Cognition, scholars gathered from various disciplines to discuss these issues. This book broadens perspectives on the interdisciplinary field encompassing perception, action and epistemic formations. It offers a new view on the related field of habitus and cognition.

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SABINE FLACH AND JAN SÖFFNER

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: Emotionaler Habitus. 2 See, among others, Roth: Fühlen, Denken, Handeln; Damasio: The Feeling of What Happens; Singer: Ein neues Menschenbild?; Poeppel: Brain and Speech; Pöppel and Edingshaus: Ge- 8 Sabine Flach / Jan Söffner especially – a detailed investigation of European and US-American visual art and literature. When the 1990s were hailed as the “Decade of the Brain,”3 this ele- vated neuro- and cognitive sciences to the status of the ‘leading sciences’ in ex- plaining cognitive processes. This hegemonic claim, which entails conceptual exclusions,4 will not simply be questioned here; rather, by explicitly assuming that the arts have their own specific knowledge, and that this knowledge is both irreducible and characteristic, the Other Sides volume focuses on how the ge- nuine and productive achievements of the arts contribute to developing another epistemological history of cognition. Its fundamental claim is that the singular knowledge of the arts has a specific epistemic status, insofar as it articulates as- pects of knowledge which are unrenderable in positive terms as an instance of knowledge production; within the scope of the book, this will not be considered to constitute sheer non-availability or revocation, but will instead be analysed with regard to those procedures to which it gives rise by virtue of its specific mediality. In analysing the interaction between artistic knowledge and the sciences, the Other Sides of Cognition focuses chiefly on a non-convertible difference, albeit not with a view to demarcating the arts and the sciences, but rather to elaborating...

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