tailieunhanh - Motion, emotion and empathy in esthetic experience

The first response focuses on the possibility of developing conscious awareness of one’s sensory experience. A second response suggests that the development of such awareness may not be necessary for one’s sensory experience to be aesthetically relevant. In psychological studies of unconscious cognition, such as the cocktail party effect, subjects listen to two streams of spoken language, one through each side of a pair of headphones, but are instructed to attend to only one. | Full text provided by ScienceDirect Opinion TRENDS in Cognitive Sciences Motion emotion and empathy in esthetic experience David Freedberg1 and Vittorio Gallese2 1 Department of Art History and Archeology Columbia University 826 Schermerhorn Hall 1190 Amsterdam Avenue New York 10027 USA 2 Department of Neuroscience University of Parma Via Volturno 39 I-43100 Parma Italy The implications of the discovery of mirroring mechanisms and embodied simulation for empathetic responses to images in general and to works of visual art in particular have not yet been assessed. Here we address this issue and we challenge the primacy of cognition in responses to art. We propose that a crucial element of esthetic response consists of the activation of embodied mechanisms encompassing the simulation of actions emotions and corporeal sensation and that these mechanisms are universal. This basic level of reaction to images is essential to understanding the effectiveness both of everyday images and of works of art. Historical cultural and other contextual factors do not preclude the importance of considering the neural processes that arise in the empathetic understanding of visual artworks. Introduction The painting will move the soul of the beholder when the people painted there each clearly shows the movement of his own weep with the weeping laugh with the laughing and grieve with the grieving. These movements of the soul are known from the movements of the body. 1 p. 80 . Although no consensus has been reached on how to define art the problem of the nature of art however so defined has attracted the interest of cognitive neuroscientists who opened a field of research named neuroesthetics 2 3 . Other attempts have been made to derive invariant universal perceptual rules to explain what art is and what esthetic pleasures we derive from it on the basis of psychophysical and neurocognitive knowledge of the visual part of the brain see for .

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