With reference to a standard work on embodied cognition – The Embodied Mind: Cognitive Science and Human Experience (1991) by Francisco Varela, Evan Thompson und Eleanor Rosch – in this article I theorize art reception that connects reflexive processes with concrete perceptual experiences as embodied art reflection. Analogously to Varela et al’s citation of meditation practice as a transformation of immediate experience into an open, embodied reflection, one can also understand focussed awareness of experience in reflected, perceptually-oriented reception of art as an open, embodied mode of access. The particular educational potential of art as a medium and object of knowledge and cognition lies moreover above all in its physical power of making-present, which exercises its particular effect in the concrete experience of the artwork. Against the background of a phenomenological perspective on learning, it is especially disruptive moments which are able to form perception and thought anew. For a pedagogical context above all, the schooling of perception and attention practised in art has particular relevance in relation to lived experience, opening new horizons. To show the potential of embodied art reflection through an example from the field of object art, my theoretical discussion opens out into a specific consideration of an artwork.

参考具身认知的标准著作—— 《具身心灵：认知科学与人类经验》 (1991)，弗朗西斯科·瓦雷拉、埃文·汤普森和埃莉诺·罗施着——在这篇文章中，我将艺术接受理论化，将反思过程与具体的感知体验联系起来作为体现艺术反射. 类似于 Varela 等人引用的冥想练习是将直接体验转化为一种开放的、具身的反思，人们也可以将在反射的、以感知为导向的艺术接受中的集中意识理解为一种开放的、具身的访问模式。艺术作为知识和认知的媒介和对象，其特殊的教育潜力首先在于它的呈现能力，这种能力在艺术作品的具体体验中发挥着特殊的作用。在现象学观点的学习背景下，特别是破坏性的时刻能够重新形成感知和思维。首先，对于教学环境而言，艺术中的感知和注意力的教育与生活经验特别相关，打开新的视野。为了通过物体艺术领域的一个例子来展示具身艺术反思的潜力，我的理论讨论开启了对一件艺术品的具体考虑。