Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer new orientations to our understanding of embodied cognition and of aesthetics as a fundamental part of it. We argue that aesthetic experience, especially its emotional dimension, is an evaluative process that influences the anticipation for stable and successful interactions with the environment. In other words, aesthetics facilitates sense-making as they affect what might be anticipated by an action tendency with respect to an environment.
On the nature of aesthetic experienceThe conception of the 'aesthetic' has always been attracting thinkers from philosophy, psychology and more recently from neurobiology. From the ancient ages of Plato and Aristotle to the present, the understanding of the 'aesthetic' remains an ambitious and complex task within a more general attempt to analyze human behavior. In philosophical writings, which are the most influential in the study of the 'aesthetic', aesthetic experience has too many and mostly contradictory meanings concerning the processes that are related to perception and to evaluation of objects. Although aestheticians accept that the 'aesthetic' is connected to emotional phenomena, the role and the content of such experiences seem confusing even in contemporary writings. As Levinson (1997) argues, the variety of those approaches suggests that there is indeed something puzzling about aesthetic emotions. For those following the Kantian tradition, aesthetic emotions have traditionally been characterized by disinterestedness and purposelessness. The 'aesthetic' is appre-