scholarly journals Ripensare etica ed estetica a partire dalle neuroscienze: la proposta di Jean-Pierre Changeux

2012 ◽  
Vol 61 (6) ◽  
Author(s):  
Maria Addolorata Mangione
Keyword(s):  
Human Nature ◽  
Aesthetic Experience ◽  
Conscious Experience ◽  
Interdisciplinary Approach ◽  
Human Being ◽  
Philosophical Reflection ◽  
Different Dimensions ◽  
The Aesthetic ◽  
Different Levels ◽  
Cognitive Dimensions

L’articolo prende in esame le teorie di Neuroestetica di J.P. Changeux. Nelle ricerche condotte sulle dimensioni neurobiologiche e cognitive dell’esperienza estetica, Changeux si è distinto per aver utilizzato il cosiddetto “modello di spazio di lavoro neuronale”, che ha elaborato nell’ambito dei propri studi compiuti sulla coscienza, per dare conto delle diverse operazioni cognitive coscienti e del comportamento intenzionale, ai diversi livelli dell’esperienza cosciente. Tale modello supporta il progetto di naturalizzazione della contemplazione del bello, che si inserisce a sua volta in quello di naturalizzazione delle intenzioni, che dovrebbe condurre, nei propositi di J.P. Changeux, verso una “neurobiologia del senso”. La ricerca di armonia tra ragione ed emozioni, che nello scienziato francese rispecchia l’aspirazione a formulare una visione integrale dell’uomo, solleva dei problemi di carattere epistemologico: riconoscere all’arte il ruolo di “catalizzatore dell’armonia nella società” richiede una riflessione filosofica che sappia dare conto sia della nozione di natura umana, che dell’unità stessa dell’essere umano. Lo scopo del contributo è quello di dimostrare la necessità di una prospettiva interdisciplinare nell’approfondimento dell’esperienza estetica per riuscire a cogliere il significato autentico della contemplazione del bello, esperienza umana che esprime la molteplicità delle dimensioni della persona. ---------- The article examines the J.P. Changeux’s theories on Neuroaesthetics. Within the research on neurobiological and cognitive dimensions of aesthetic experience, Changeux has distinguished himself by using the so-called “neuronal workspace model”, realized as part of studies on consciousness to explain cognitive conscious operations and intentional behaviour at different levels of conscious experience. This model supports the project for the naturalization of the contemplation of the beauty, which is part, in its turn, of the naturalization of the intentions, which should lead, according to J.P. Changeux, to the “neurobiology of the sense”. The search for harmony between reason and emotion raises epistemological problems: if the art “catalyzes the harmony within the society”, it requires a philosophical reflection on human nature and unity of human being. The aim of the paper is to demonstrate the need for an interdisciplinary approach to explain the aesthetic experience of admiring the contemplation of the beautiful, a human experience that shows the different dimensions of the person.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

scholarly journals El arte y la desapropiación del mundo

2021 ◽  
Vol 18 ◽  
Author(s):  
Sergio Espinosa Proa
Keyword(s):  
Aesthetic Experience ◽  
Three Dimensions ◽  
One Dimension ◽  
Material Objects ◽  
Human Being ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic

Las obras de arte son objetos materiales que al mismo tiempo y de modos misteriosos son objetos espirituales (a saber: inmateriales). Utilizando a Kant y a Schiller, en este artículo se opone a la calificación platónica y aristotélica una concepción distinta del arte, que sería una manufactura humana no sometida a la lógica de la apropiación, sino de su contraria. El hombre es un ser racional, pero Kant le otorgó tres dimensiones a esta idea: la razón es conocimiento, mas también compasión y contemplación. Un ser humano tiene intereses teóricos, intereses prácticos... y desintereses múltiples. El "temple estético" al que Schiller hace referencia apunta a esta facultad de no hacer nada, a este aflojamiento de las tensiones, ocupaciones y preocupaciones, al puro deleite (o pavor) de estar meramente en el mundo. La experiencia o la emoción estética aflora cuando no esperamos nada —ni bueno ni malo— de las cosas. Es paradójico que una dimensión de nuestra racionalidad sea la facultad de no esperar, de no buscar, de no modificar o sustituir, de no mover un dedo, de simple y llanamente no hacer nada: es la facultad de dejar llegar, de dejar aparecer (y desaparecer), de dejar ser a las cosas; es la facultad de desactivar —momentáneamente— nuestras otras facultades. Works of art are material objects that at the same time and in mysterious ways are spiritual objects (i. e. immaterial). Using Kant and Schiller, this article opposes the Platonic and Aristotelian qualification with a different conception of art, which would be a human manufacture not subject to the logic of appropriation, but of its opposite. Man is a rational being, but Kant gave this idea three dimensions: reason is knowledge, but also compassion and contemplation. A human being has theoretical interests, practical interests… and multiple interests. The “aesthetic temper" to which Schiller refers points to this faculty of doing nothing, to this loosening of tensions, occupations and worries, to the pure delight (or dread) of being merely in the world. Aesthetic experience or emotion comes to the surface when we expect nothing —neither good nor bad— from things. It is paradoxical that one dimension of our rationality is the faculty of not waiting, of not seeking, of not modifying or substituting, of not moving a finger, of simply doing nothing: it is the faculty of letting come, of letting appear (and disappear), of letting things be; it is the faculty of deactivating —momentarily— our other faculties.

Relations and Distance Schooling

2022 ◽  
pp. 1-14
Author(s):  
Giorgio Crescenza
Keyword(s):  
Empirical Data ◽  
Exploratory Study ◽  
Critical Discussion ◽  
Human Being ◽  
Starting Point ◽  
Different Dimensions ◽  
Different Levels

Due to the unprecedented period which has swept over educational agencies, as well as society as a whole, it is appropriate to try to learn and understand the first effects of these transformations operating on different levels: educational, formative, relational, and social. This contribution intends to develop some reflections on the different dimensions which have affected more than others the educational, formative, and scholastic experience, paying particular attention to the educational relationship and the modifications in teaching. The analysis takes as its starting point some empirical data from an exploratory study at the Università degli Studi Roma Tre. The role of the school on the path of cultural humanisation of the human being is then presented, followed by a critical discussion on how the teaching and relational changes that have inevitably been introduced this year fit into this path. Lastly, the conclusion considers how to transform the crisis which has struck schools at the heart into an opportunity for thinking about them with a wider perspective.

Towards a Rewilding of the Ear

2017 ◽  
Vol 22 (1) ◽  
pp. 51-60 ◽  
Author(s):  
André G. Pinto
Keyword(s):  
Aesthetic Experience ◽  
Human Life ◽  
Point Of View ◽  
Human Being ◽  
Semiotic System ◽  
The World ◽  
Human World ◽  
The Aesthetic ◽  
Deep Listening

In this article I outline the idea of an empirical/experiential reconnection to the natural non-human world through the practice of deep listening. I believe that the aesthetic experience is central to a more ecological positioning of the human being on earth and that aesthetic experience should involve a ‘rewilding of the ear’. To discuss this concept, I build an argument from Edgard Varèse’s music as ‘organised sound’ and approach it from a perceptual point of view. This leads to the discussion of other concepts, such as David Dunn’s ‘grief of incommunicability’ (Dunn 1997) and Jean-François Augoyard and Henry Torgue’s ‘sharawadgi effect’ (Bick 2008). Further to this I discuss parallels between Truax’s continuum (Speech–Music–Soundscape) and Peirce’s semiotic system. Taking points from these theories, we can discuss the possibility of the re-tuning of our ears to the wider sound palette of the world. I consider George Monbiot’s concepts of ‘rewilding’ and ‘rewilding of the human life’ (Monbiot 2014), in order to create a parallel to our relationship with the soundscape.

scholarly journals Das Selbst und die Gegenwart der Verantwortung. Über das Verantwortungskonzept in der hermeneutischen Phänomenologie von Paul Ricœur

Labyrinth ◽  
2016 ◽  
Vol 18 (1) ◽  
pp. 79
Author(s):  
Yvanka B. Raynova
Keyword(s):  
Hermeneutic Phenomenology ◽  
Paul Ricoeur ◽  
The Self ◽  
Human Being ◽  
Main Thesis ◽  
The Will ◽  
Different Dimensions ◽  
The Difference ◽  
Philosophical Writings ◽  
Different Levels

A peculiarity of Paul Ricoeur's philosophy is his effort to elaborate a hermeneutic phenomenology of the Self on the roots of reflexive philosophy. Thus, the problem of responsibility, which Ricoeur debated on different occasions, appears in the context of the Self as an acting, suffering and capable subject which is not only responsible for its own acts but has also duties in respect to others. Ricoeur's hermeneutics of "l’homme capable" (the capable human being) analyzes responsibility on different levels – historical, ethical, political, juridical etc. The main thesis of the author is, that this levels of responsibility constitute the different dimensions of the will of the Self "to engage itself with" which should be recomposed hermeneutically in order to capture responsibility as an integral phenomenon. At the difference of some authors who offer only a partial interpretation of the problem of responsibility in Ricoeur's work, the following article aims to give a holistic one by reconstructing it through the complex evolution of Ricoeur's philosophical writings.

scholarly journals CONSIDERAÇÕES SOBRE A RESSIGNIFICAÇÃO HERMENÊUTICO-FILOSÓFICA DA EXPERIÊNCIA FORMATIVA: Gadamer e o caráter ético e estético da educação

2013 ◽  
Author(s):  
José Eduardo Fonseca Oliveira ◽  
Almir Ferreira da Silva Júnior
Keyword(s):  
Human Nature ◽  
Perspective Taking ◽  
Aesthetic Experience ◽  
Human Experience ◽  
German Philosopher ◽  
Formative Experience ◽  
Cartesian Cogito ◽  
The Subject ◽  
The Aesthetic ◽  
Hans Georg Gadamer

Este trabalho propõe uma reflexão sobre a natureza humana a partir de uma perspectiva hermenêutica, relacionando-a com a Ética e a Estética nos processos que permeiam a educação enquanto experiência de formação do humano. A tese do filósofo alemão Hans-Georg Gadamer, de que educar é educar-se, não só nos remete a uma reflexão sobre a natureza humana, como está na centralidade do problema formativo do mesmo. Problema esse que nas vias de solução deixa de ser gnosiológico ou mesmo epistemológico, passando a ser de caráter ontológico, ou seja, como compreendemos, levando em consideração que a noção de sujeito não mais está assentada no cogito cartesiano e nem nas faculdades do juízo kantiana. Entretanto, podemos observar que a maioria das teorias pedagógicas encontra sua gênese estruturante nessas noções já desconstruídas de sujeito, o que acentua a crise na educação. O sujeito, para Gadamer, agora é o Dasein, herdado de Heidegger e que, em sua visão, expressa melhor anatureza humana. Surge então a necessidade de refletir sobre essa natureza, tendo em vista a proposta de ressignificação da experiência formativa do humano pela educação, a partir de uma perspectiva ontológica, levando em conta a experiência estética como articulação para uma educação Ético-Estética.Palavras-chave: Hermenêutica. Educação. Formação. Ética. Estética.CONSIDERATIONS ON HERMENEUTIC -PHILOSOPHICAL RESIGNIFICATION OF FORMATIVE EXPERIENCE: Gadamer and the ethical and aesthetic character of educationAbstract: This paper is a reflection claim about human nature from a hermeneutic perspective, relating it to the Ethics and Aesthetics in the processes that underlie education while training the human experience. The thesis of the German philosopher Hans-Georg Gadamer, that education is to educate yourself not only leads us to a reflection on human nature, as is the centrality of the problem of the same formation. This problem in ways that solution no longer gnosiologic epistemological or even becoming the ontological character, that is, as we understand, considering that the notion of subject is no longer seated in the Cartesian cogito nor the faculties of judgment Kant. However, we can observe that most pedagogical theories finds its genesis structuring these notions already deconstructed the subject, which accentuates the crisis in education. The subject, for Gadamer, is now Dasein, Heidegger's legacy and that, in his view, best expressed human nature. Then comes the need to reflect on this the crisis in education. The subject, for Gadamer, is now Dasein, Heidegger's legacy and that, in his view, best expressed human nature. Then comes the need to reflect on this nature, in view of the proposed redefinition of the human formative experience for education, from an ontological perspective, taking into account the aesthetic experience as an education articulation for Ethical and Aesthetic.Keywords: Hermeneutics. Education. Training. Ethics. Aesthetics.CONSIDERACIONES SOBRE LA REDEFINICIÓN DE LA HERMENÉUTICA FILOSÓFICA-FORMATIVO EXPERIENCIA: Gadamer y la educación ética y estéticaResumen: Este trabajo tiene la intención de hacer una reflexión sobre la naturaleza humana desde una perspectiva hermenéutica, relacionándolo con la ética y la estética en el proceso de educación que impregnan durante la formación de la experiencia humana. La tesis del filósofo alemán Hans-Georg Gadamer, que la educación es educarse a si mismo no sólo nos lleva a una reflexión sobre la naturaleza humana, como está en el centro del problema de la misma formación. este problema de manera que lasolución deja de ser gnosiológica o mismo epistemológica pasando a convertirse en carácter ontológico, es decir, a nuestro entender, teniendo en cuenta que la noción de sujeto ya no está sentado en el cogito cartesiano ni las facultades del juicio Kant. Sin embargo, podemos observar que la mayoría de las teorías pedagógicas encuentra su génesis estructural en estas nociones ya desconstruídas de sujeto, lo que acentúa la crisis en la educación. El sujeto, para Gadamer, es ahora Dasein, el legado de Heidegger yque, a su juício, representa mejor la naturaleza humana. Luego viene la necesidad de reflexionar sobre esta naturaleza, a la vista de la propuesta de redefinición de la experiencia formativa del humano por la educación, desde el punto de vista ontológico, teniendo en cuenta la experiencia estética como una articulación de la educación ética y estética.Palabras clave: Hermenéutica. Educación. Formación. Ética. Estética

scholarly journals The Existential Relevance of Art for Human Life

Itinera ◽  
2021 ◽  
Author(s):  
Giovanna Caruso
Keyword(s):  
Aesthetic Experience ◽  
Human Life ◽  
Fundamental Difference ◽  
Human Being ◽  
Human Beings ◽  
Work Of Art ◽  
Structural Correspondence ◽  
The Aesthetic

What is the relevance of art for human life? This question can be answered if life is understood from life-performance and art from artworks. From this perspective, the human being – understood as a being in a self-researching process – and the work of art – conceived as an experience-figure – show a structural correspondence: a constitutive unfathomability. Both, human being and art, can only be adequately understood as open processes of their respective self- realization. Because of this correlation and, at the same time, considering their fundamental difference, the aesthetic experience enables the human being to objectify the process of self-research. Thus, the existential relevance of art to life becomes concrete in that the aesthetic experience that makes the artwork the unique unfathomability that it is, reveals itself as an excellent path to the process of self-research, which makes human beings the unique unfathomability that he or she is.

Exploring Tourist Behavior in a Reused Heritage Site

2021 ◽  
pp. 109634802110200
Author(s):  
Yi-Ju Lee ◽  
I-Ying Tsai ◽  
Te-Yi Chang
Keyword(s):  
Behavioral Intention ◽  
Structural Equation ◽  
Aesthetic Experience ◽  
Equation Modeling ◽  
Tourist Behavior ◽  
Heritage Site ◽  
Modeling Analysis ◽  
Heritage Buildings ◽  
The Aesthetic ◽  
The Relationship

This study investigated the relationship among tourists’ perceived sustainability, aesthetic experience, and behavioral intention toward reused heritage buildings by employing stimulus–organism–response theory. There were 354 valid questionnaires collected from the Sputnik Lab in Tainan, Taiwan. A positive correlation was found between tourists’ perception of sustainability and aesthetic experience. When tourists perceived higher aesthetic experience, they also had stronger behavioral intention. Structural equation modeling analysis verified that the aesthetic experience of tourists had mediating effects between perceived sustainability and behavioral intention in the reused heritage space. The reuse of space should be attached significantly to the aesthetic display of space and service so as to promote such scenic spots and increase tourists’ intention to revisit through word of mouth.

The Role of Understanding on Architectural Beauty: Evidence From the Impact of Semantic Description on the Aesthetic Evaluation of Architecture

2021 ◽  
pp. 003329412110021
Author(s):  
Sizhe Liu ◽  
Wei Zhang ◽  
Xianyou He ◽  
Xiaoxiang Tang ◽  
Shuxian Lai ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Supplementary Information ◽  
Aesthetic Evaluation ◽  
Abstract Description ◽  
Social Meanings ◽  
Different Types ◽  
Appearance Design ◽  
The Aesthetic ◽  
The Impact

There is evidence that greater aesthetic experience can be linked to artworks when their corresponding meanings can be successfully inferred and understood. Modern cultural-expo architecture can be considered a form of artistic creation and design, and the corresponding design philosophy may be derived from representational objects or abstract social meanings. The present study investigates whether cultural-expo architecture with an easy-to-understand architectural appearance design is perceived as more beautiful and how architectural photographs and different types of descriptions of architectural appearance designs interact and produce higher aesthetic evaluations. The results showed an obvious aesthetic preference for cultural-expo architecture with an easy-to-understand architectural appearance design (Experiment 1). Moreover, we found that the aesthetic rating score of architectural photographs accompanied by an abstract description was significantly higher than that of those accompanied by a representational description only under the difficult-to-understand design condition (Experiment 2). The results indicated that people preferred cultural-expo architecture with an easy-to-understand architectural appearance design due to a greater understanding of the design, providing further evidence that abstract descriptions can provide supplementary information and explanation to enhance the sense of beauty of abstract cultural-expo architecture.

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