The challenge of the cognitive sciences to the humanistic sciences also invades the aesthetic and the theory of art. The neuro-aesthetic and the cognitive history of image–e.g. of Barbara Stafford and Jean-Pierre Changeux–naturalize, and denature, the phenomenology tradition and the theories of Einfühlung, and are placing the aesthetic as a theory and as a morphology of a sensory and incarnated knowledge. After the discovery of the mirror neurons and the notion of ‘embodied Simulation’ proposed by Vittorio Gallese’s team and used by David Freedberg, the statute of the imitation and the aesthetic experience are to be reconsidered within a general science of sensory experience–namely an aesthesiology–, not just in reference to the artworks but to the visual culture overall. In this externalist perspective, the book takes in consideration also some points of contact with the analytic philosophy of the art, especially with those focused on the issues of aesthetic propriety and ontology of artworks distinguished by ordinary objects. In light of the relationship between motion and emotion, an in-depth attention is given to the notion of Embodiment, a central idea in the philosophy of the mind and neuro-aesthetic appraisal, especially relative to the notion of Verkörperung, of incorporation, proposed by Robert Vischer and Aby Warburg. Finally, the book insists, while discussing the Laocoon by Lessing and Goethe’s review, on the alteration and metamorphosis of the beholder’s biological identity physically and empathetic engaged in an aesthetic relationship.
Filippo FIMIANI, Simulations incorporées et tropismes empathiques. Notes sur la neuroesthétique «Images Re-vues. Histoire, anthropologie et histoire de l’art» [En ligne], 6/2009, dossier coordonné par Pierre-Olivier Dittmar Devenir-animal, pp. 1-27. Mise en ligne le 01 juin 2009, consulté le 14 mars 2012. URL :http://imagesrevue.revue.org/426. ISSN: 1778-3801.La sfida delle scienze cognitive alle scienze umane investe anche l’estetica e la teoria dell’arte. La neuro-estetica e la storia cognitiva delle immagini, p.es, di Barbara Stafford e Jean-Pierre Changeux, naturalizzano, e snaturano, la tradizione della fenomenologia e delle teorie dell’Einfühlung, e ripropongono l’estetica come teoria e come morfologia di una conoscenza sensibile incarnata. Dopo la scoperta dei neuroni-specchi e la nozione di embodied Simulation proposta dall’équipe di Vittorio Gallese e utilizzata da David Freedberg, lo statuto dell’imitazione e dell’esperienza estetica sono da ripensare entro l’orizzonte di una estesiologia generale, non più solo in riferimento all’opere d’arte ma alla cultura visuale in senso lato. In questa prospettiva esternalista, il saggio considera anche alcuni punti di contatto con le filosofie analitiche dell’arte, specialmente con quelle attente alla questione delle proprietà e all’ontologia dell’opera d’arte distinta da un oggetto ordinario. Alla luce della relazione tra emozione e movimento, si approfondisce in particolare la nozione di Embodiment, centrale nella filosofia della mente e nella lettura neuroestetica, in relazione alla nozione di Verkörperung, d’incorporazione, proposta da Robert Vischer e Aby Warburg; infine, si insiste, ridiscutendo il Lacoonte di Lessing e Goethe, sull’alterazione e sulla metaforizzazione dell’identità biologica dello spettatore impegnato carnalmente in una relazione estetica.
Simulations incorporées et tropismes empathiques. Notes sur la neuro-esthétique
FIMIANI, Filippo
2009-01-01
Abstract
The challenge of the cognitive sciences to the humanistic sciences also invades the aesthetic and the theory of art. The neuro-aesthetic and the cognitive history of image–e.g. of Barbara Stafford and Jean-Pierre Changeux–naturalize, and denature, the phenomenology tradition and the theories of Einfühlung, and are placing the aesthetic as a theory and as a morphology of a sensory and incarnated knowledge. After the discovery of the mirror neurons and the notion of ‘embodied Simulation’ proposed by Vittorio Gallese’s team and used by David Freedberg, the statute of the imitation and the aesthetic experience are to be reconsidered within a general science of sensory experience–namely an aesthesiology–, not just in reference to the artworks but to the visual culture overall. In this externalist perspective, the book takes in consideration also some points of contact with the analytic philosophy of the art, especially with those focused on the issues of aesthetic propriety and ontology of artworks distinguished by ordinary objects. In light of the relationship between motion and emotion, an in-depth attention is given to the notion of Embodiment, a central idea in the philosophy of the mind and neuro-aesthetic appraisal, especially relative to the notion of Verkörperung, of incorporation, proposed by Robert Vischer and Aby Warburg. Finally, the book insists, while discussing the Laocoon by Lessing and Goethe’s review, on the alteration and metamorphosis of the beholder’s biological identity physically and empathetic engaged in an aesthetic relationship.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
