ENGLISH. Aby Warburg’s work experience has an obvious new interest for the challenge of the cognitive sciences to a new Critical Iconology’s model and field, including a re-definition of the images, of the art history frame and also the invention of new subjects, media, motifs and figures. With the notion of ‘embodied Simulation’ proposed by Vittorio Gallese’s team and used by David Freedberg, it will be possible to reconsider the interpretation of “Formulas de pathos” (Pathosformeln) and of the “Survivance” (Nachleben) as the trans-or post-specific medium models of a so-called energetic and dynamic aesthetic of moving images-e.g. the dancing Nymph of an episode of the American period drama television series Mad Men. In this case study, the paper focalises the statute of the imitation in light of the relationship between motion and emotion, moving body and touching, 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 too. Finally, the paper insists on the beholder’s cinematic and empathetic engagement by the fimic aesthetic relationship, while discussing the survivance of scientific iconography on the tactile illusion into some surrealistic paintings of Max Ernst.
Filippo FIMIANI, «Lieux communs cinétiques», Images Re-vues [En ligne], hors-série 4 | 2013, mis en ligne le 18 février 2013, consulté le 21 février 2013. URL : http://imagesrevues.revues.org/29624. ISSN: 1778-3801. (FRANCE). ITALIANO. La ricerca di Aby Warburg ha avuto una grande rinnovata eco nella sfida avanzata oggi dalle scienze cognitive per un nuovo campo e un nuovo modello di iconologia critica. Tale nuova iconologia critica comporta una ridefinizione dello statuto stesso delle immagini e del campo della storia dell’arte, ma anche l’invenzione di nuovi oggetti, media, figure e motivi. A partire dalla nozione di ‘simulazione incarnata’, proposta da Vittorio Gallese e impiegata da David Freedberg, si possono ripensare due nozioni chiave del lessico warburghiano-Pathosformeln e Nachleben-come modelli inter- o popst-mediali di un’estetica energetica e dinamica Pathos lo statuto dell’imitazione e dell’esperienza estetica delle immagini-in-movimento. Esemplare, il corpo danzante della Ninfa in un episodio della serie televisiva americana Mad Men, studiando il quale il testo considera l’imitazione alla luce della relazione tra emozione e movimento, corpo in movimento e tatto, approfondendo in particolare la nozione di Embodiment, centrale nella filosofia della mente e nella lettura neuroestetica, in relazione alla nozione di Verkörperung, d’incorporazione, proposta già da Robert Vischer. Infine, si insiste, sull’impegno motorio ed empatico dello spettatore filmico, discutendo anche la sopravvivenza della iconografia scientifica riguardante l’illusione tattile in alcune opere dell’artista surrealista Max Ernst.
Lieux communs cinétiques
FIMIANI, Filippo
2013-01-01
Abstract
ENGLISH. Aby Warburg’s work experience has an obvious new interest for the challenge of the cognitive sciences to a new Critical Iconology’s model and field, including a re-definition of the images, of the art history frame and also the invention of new subjects, media, motifs and figures. With the notion of ‘embodied Simulation’ proposed by Vittorio Gallese’s team and used by David Freedberg, it will be possible to reconsider the interpretation of “Formulas de pathos” (Pathosformeln) and of the “Survivance” (Nachleben) as the trans-or post-specific medium models of a so-called energetic and dynamic aesthetic of moving images-e.g. the dancing Nymph of an episode of the American period drama television series Mad Men. In this case study, the paper focalises the statute of the imitation in light of the relationship between motion and emotion, moving body and touching, 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 too. Finally, the paper insists on the beholder’s cinematic and empathetic engagement by the fimic aesthetic relationship, while discussing the survivance of scientific iconography on the tactile illusion into some surrealistic paintings of Max Ernst.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
