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An Interdisciplinary Perspective Towards Explaining the Visual Aesthetic Experience: The Case of Emotion
Get PDFThis paper discusses the empirical findings concerning the visual aesthetic experience in a neurological context. Accordingly, the aim of this paper is to shed light on the common ground across neuroscience, psychology, and philosophy to pave new roads for empirical research. Cognitive models posit that the brain employs neural networks mediating bottom-up and top- down processes, and in effect, engenders emotion and reward throughout the visual aesthetic experience. Likewise, empathy and its corresponding recruitment of bodily processes may facilitate the understanding of a visual artwork’s depicted emotion, which may allow the viewer to engage with the visual artwork from a psychological distance and, consequently, to experience pleasure regardless of the visual artwork’s emotional content. In conclusion, empathetic processes may be central to the visual aesthetic experience and should be considered by future empirical research investigating the visual aesthetic experience.This paper discusses the empirical findings concerning the visual aesthetic experience in a neurological context. Accordingly, the aim of this paper is to shed light on the common ground across neuroscience, psychology, and philosophy to pave new roads for empirical research. Cognitive models posit that the brain employs neural networks mediating bottom-up and top- down processes, and in effect, engenders emotion and reward throughout the visual aesthetic experience. Likewise, empathy and its corresponding recruitment of bodily processes may facilitate the understanding of a visual artwork’s depicted emotion, which may allow the viewer to engage with the visual artwork from a psychological distance and, consequently, to experience pleasure regardless of the visual artwork’s emotional content. In conclusion, empathetic processes may be central to the visual aesthetic experience and should be considered by future empirical research investigating the visual aesthetic experience
L\u27uso delle immagini artistiche e non nella cultura contemporanea: il pensiero di due filosofi contemporanei (Jean Baudrillard e Mohamed Abed al-Jabri)
Get PDFThe main purpose of this research is to analyze and understand the use of artistic and non-artistic images between East and West and especially of images accompanied by words written in Arabic. In reality there is a lot of information, images and falsifying words, in fact as stated by the French philosopher Jean Baudrillard: "when the image cancels reality" it is our duty to interpret it and give it the right meaning (Jean Baudrillard, 1988). In this regard We can say with certainty that very often, when the images shown contain writings in Arabic or in other languages that are not well known in the West, the message may not be fully intelligible or decodable and this prevents the understanding of the images themselves which may mistakenly be deemed untrue. We live in the era of images, and since these dominate the panorama of the contemporary world at the level of science, culture, economy and media, today as never before they are so fundamental in political and social life. To better understand this phenomenon of dependence of individuals on technology, television, social networks and videos, we will use the methodology of interpretation that will allow us to analyze these phenomena and these means which, taken in themselves, have no negative or positive value, which however, they must be considered critically in order to be able to use them correctly and consciously. With this research I aim to establish a link between different cultures, to find a common thought and contribute to the formation of a society, united against violence and terrorism.The main purpose of this research is to analyze and understand the use of artistic and non-artistic images between East and West and especially of images accompanied by words written in Arabic. In reality there is a lot of information, images and falsifying words, in fact as stated by the French philosopher Jean Baudrillard: "when the image cancels reality" it is our duty to interpret it and give it the right meaning (Jean Baudrillard, 1988). In this regard We can say with certainty that very often, when the images shown contain writings in Arabic or in other languages that are not well known in the West, the message may not be fully intelligible or decodable and this prevents the understanding of the images themselves which may mistakenly be deemed untrue. We live in the era of images, and since these dominate the panorama of the contemporary world at the level of science, culture, economy and media, today as never before they are so fundamental in political and social life. To better understand this phenomenon of dependence of individuals on technology, television, social networks and videos, we will use the methodology of interpretation that will allow us to analyze these phenomena and these means which, taken in themselves, have no negative or positive value, which however, they must be considered critically in order to be able to use them correctly and consciously. With this research I aim to establish a link between different cultures, to find a common thought and contribute to the formation of a society, united against violence and terrorism
Shifting paradigms Mexico in color: Ellen Auerbach’s exile photography
Get PDFIn 1955, Ellen Auerbach, a Weimarian advertising photographer of the Bauhaus circles, chose to document her trip to Mexico with her colleague Eliot Porter, using color photography for the first time in her career.This article seeks to contextualize, for the first time, Auerbach’s decision to use color in her work – and within the history of modernism in general. In a discourse where exile studies interweave closely with art theory, I intend to trace the paths of a modernism that might have been, but that was erased by history and migration, demonstrating how the use of color in a non-Western exile context became a starting point for rethinking the aims and epistemic possibilities of the photographic medium within and beyond the modernist perspective.In 1955, Ellen Auerbach, a Weimarian advertising photographer of the Bauhaus circles, chose to document her trip to Mexico with her colleague Eliot Porter, using color photography for the first time in her career.This article seeks to contextualize, for the first time, Auerbach’s decision to use color in her work – and within the history of modernism in general. In a discourse where exile studies interweave closely with art theory, I intend to trace the paths of a modernism that might have been, but that was erased by history and migration, demonstrating how the use of color in a non-Western exile context became a starting point for rethinking the aims and epistemic possibilities of the photographic medium within and beyond the modernist perspective
Tra ricerca e memoria: Leggenda di Alessandro Solbiati
Get PDFThe article examines Alessandro Solbiati’s second theatrical work, Leggenda, which takes inspiration from the tale “The Grand Inquisitor” included in Dostoevsky’s novel The Karamazov Brothers. After presenting the meaning of this tale in the novel of the Russian writer, it reconstructs the genesis of the opera and the structure of the libretto. Then it analyses the musical forms, the vocal language and the composer’s ‘pensée sonorielle’ and considers them in the light of his musical dramaturgy. Finally, it outlines Solbiati’s aesthetical conception, his relationship with the musical tradition and his personal stance on postmodernism and postwebernian avant-garde.The article examines Alessandro Solbiati’s second theatrical work, Leggenda, which takes inspiration from the tale “The Grand Inquisitor” included in Dostoevsky’s novel The Karamazov Brothers. After presenting the meaning of this tale in the novel of the Russian writer, it reconstructs the genesis of the opera and the structure of the libretto. Then it analyses the musical forms, the vocal language and the composer’s ‘pensée sonorielle’ and considers them in the light of his musical dramaturgy. Finally, it outlines Solbiati’s aesthetical conception, his relationship with the musical tradition and his personal stance on postmodernism and postwebernian avant-garde
Daltonico. Il colore tra riscrittura della realtà e cliché sociale
Get PDFInevitably associated with perceptual or image theories, thematized through its psychologization or through a symbolic-anthropological perspective, color has often been taken away from one of its possible stories. The present contribution attempts to investigate this path in which color in modernity has become the pretext for a rewriting, often of rupture, of reality as in the case of the translations from the Greek of Hölderlin and the poetology of Rimbaud up to the Bauhaus aesthetics, but also its opposite: a sort of consolidation of social clichés as Abraham Moles (speaking of “sentimental chromatism”) and Jean Baudrillard (interpreting color as a mere semiotic value independent of the taste and perception of the subject) have shown in different but complementary ways.Inevitably associated with perceptual or image theories, thematized through its psychologization or through a symbolic-anthropological perspective, color has often been taken away from one of its possible stories. The present contribution attempts to investigate this path in which color in modernity has become the pretext for a rewriting, often of rupture, of reality as in the case of the translations from the Greek of Hölderlin and the poetology of Rimbaud up to the Bauhaus aesthetics, but also its opposite: a sort of consolidation of social clichés as Abraham Moles (speaking of “sentimental chromatism”) and Jean Baudrillard (interpreting color as a mere semiotic value independent of the taste and perception of the subject) have shown in different but complementary ways
Color, Synaesthesia and Emotion in Visual Culture between the 19th and 20th Centuries
Get PDFThe idea that colour can have a psychological impact and in some way influence emotions has specific historical roots in the origins of modern visual culture. Therefore, this essay considers, in an epistemological perspective, the study of colour as a problem within the history of perception. Focusing on some key issues of the late 19th century artistic, cultural and psychophysiological debate on synaesthesia – in relation to the theories on colour and emotion –, this research interrogates in particular the link between image, sound, colour and the developments of chromatic music. The turn of the 20th century is a crucial moment to understand the historical basis of a new interpretation of colour, whose aesthetic effectiveness is connected to its power of conditioning the spectator’s senses. This article argues that the resulting emphasis on the viewer’s embodied reaction to colour also leads to rethink the status of still and moving images within the framework of immersive colour experiences based on the relationship between body, medium and senses.The idea that colour can have a psychological impact and in some way influence emotions has specific historical roots in the origins of modern visual culture. Therefore, this essay considers, in an epistemological perspective, the study of colour as a problem within the history of perception. Focusing on some key issues of the late 19th century artistic, cultural and psychophysiological debate on synaesthesia – in relation to the theories on colour and emotion –, this research interrogates in particular the link between image, sound, colour and the developments of chromatic music. The turn of the 20th century is a crucial moment to understand the historical basis of a new interpretation of colour, whose aesthetic effectiveness is connected to its power of conditioning the spectator’s senses. This article argues that the resulting emphasis on the viewer’s embodied reaction to colour also leads to rethink the status of still and moving images within the framework of immersive colour experiences based on the relationship between body, medium and senses
Istantanee della vita moderna: l’impressionismo tra realtà, fotografia e colore
Get PDFThe essay aims to investigate the ways in which Impressionist art participates in socio- cultural modernity. Emancipation from the academic tradition, the choice of subjects from everyday reality, the influence of photography and the study of color are some of the elements through which the Impressionists investigated the reality of their time.The essay aims to investigate the ways in which Impressionist art participates in socio- cultural modernity. Emancipation from the academic tradition, the choice of subjects from everyday reality, the influence of photography and the study of color are some of the elements through which the Impressionists investigated the reality of their time
Colore e fotografia
Get PDFDo black-and-white and colour photography really represent two different and complementary expressive languages? Or is one merely a mirror of the other, in that we \u27see\u27 colours even where they are apparently not present? Our brain reconstructs them even in their absence: cones and rods in the retina operate simultaneously and not alternately, and visual memories influence the decoding of shades of grey in a chromatic key.
Black and white are nothing more than the two (unreachable) extremes of a continuum and are therefore fully part of our coloured world. All the various, unnamable as they are in fact indiscriminate, hues contain the so-called achromatics that delimit, both perceptually and psychologically, the space of colour and our way of relating to it.Do black-and-white and colour photography really represent two different and complementary expressive languages? Or is one merely a mirror of the other, in that we \u27see\u27 colours even where they are apparently not present? Our brain reconstructs them even in their absence: cones and rods in the retina operate simultaneously and not alternately, and visual memories influence the decoding of shades of grey in a chromatic key.
Black and white are nothing more than the two (unreachable) extremes of a continuum and are therefore fully part of our coloured world. All the various, unnamable as they are in fact indiscriminate, hues contain the so-called achromatics that delimit, both perceptually and psychologically, the space of colour and our way of relating to it
Introduzione
Get PDFColour reflects the “fluid” nature of the image: both can be considered as a factual, objective evidence of the external world as well as a subjective and sometimes deceptive re-representation of it.
The section entitled “Colour. Photography, Image, Reality” collects essays that widely investigate the power of colour to unfold new sensibilities and practices linked the fruition, the creation and the use of images, across very different media: from literature to social media. The authors develop some core themes, such as the aesthetics of colors, the relevance of intermediality to comprehend specific experiences, and the epistemological and political implications of color technology.
The reflections on images encounter the philosophical debate on colour, offering the opportunity to examine every pattern of recognition (that can be ours or of others, human or non-human) and contributing to the discussion on the contingent and questioning relationship between image and reality.Colour reflects the “fluid” nature of the image: both can be considered as a factual, objective evidence of the external world as well as a subjective and sometimes deceptive re-representation of it.
The section entitled “Colour. Photography, Image, Reality” collects essays that widely investigate the power of colour to unfold new sensibilities and practices linked the fruition, the creation and the use of images, across very different media: from literature to social media. The authors develop some core themes, such as the aesthetics of colors, the relevance of intermediality to comprehend specific experiences, and the epistemological and political implications of color technology.
The reflections on images encounter the philosophical debate on colour, offering the opportunity to examine every pattern of recognition (that can be ours or of others, human or non-human) and contributing to the discussion on the contingent and questioning relationship between image and reality
Fotocolor Modernist Distortions of Flemish Painting Between Chromatic and Photographic
Get PDFIn this essay I aim to draw close to an exceptional case study in American modernist art theory: Clement Greenberg’s reinterpretation of Flemish and Dutch painting. I will focus on it in connection with the Greenbergian vision of modernism as a whole.
Firstly, I will make a genealogy of the “Flemish turn” in the history of aesthetics, by analyzing the key moments (Winckelmann, Hegel, Baudelaire) in which the so-called Northern Primitives have served to frame modern painting, in contrast to Southern classic Renaissance.
Then, I will concentrate on Greenberg’s use of this heritage, by comparing his linking Flemish colour with photography to Svetlana Alpers’ notion of “art of describing”. It will emerge that an original interaction between colour and photography is given, that is suitable both to the notion of realism and to its modernist acceptance.In this essay I aim to draw close to an exceptional case study in American modernist art theory: Clement Greenberg’s reinterpretation of Flemish and Dutch painting. I will focus on it in connection with the Greenbergian vision of modernism as a whole.
Firstly, I will make a genealogy of the “Flemish turn” in the history of aesthetics, by analyzing the key moments (Winckelmann, Hegel, Baudelaire) in which the so-called Northern Primitives have served to frame modern painting, in contrast to Southern classic Renaissance.
Then, I will concentrate on Greenberg’s use of this heritage, by comparing his linking Flemish colour with photography to Svetlana Alpers’ notion of “art of describing”. It will emerge that an original interaction between colour and photography is given, that is suitable both to the notion of realism and to its modernist acceptance