The reality of the aesthetic seems to manifest itself more and more in relational and immersive ways that defy analyses that follow the trail of the modern tradition of philosophy, based on the dual gnoseological relationship between subject and object. Even some areas of the new cognitive sciences seem to converge towards a conception of experience as a complex horizon in which variously related vectors operate. From this point of view, it is worth exploring the notion of “field” as a conceptual tool to describe the aesthetic. In this paper we will consider two possible uses of this notion in reference to the aesthetic: to describe experiential modes (following Arnold Berleant), and to describe social dynamics (following Pierre Bourdieu). Yet, the starting point will be some considerations provided by Peter Abbs. We will thus try to show how the notion of “aesthetic field” can be consonant with scientific settings that advocate models of mind that stress its being extended and situated. A particular test bed will be the psychology of art as a discipline spanning philosophical knowledge and empirical investigation. In this key will also be considered the so-called “experiential revolution” in psychology, which indicates an extra-cognitive horizon variously coinciding with the perspective of an aesthetic research focused on the conception of aisthesis as a system of practices of perception, emotion, and expression. According to this conception, the dynamics within the aesthetic field, such as those related to the nexus between perceptual contents and aesthetic properties, or between emotional content and the practices of sensing could prove to be dynamics of “intervenience,” rather than of supervenience.

On Some Epistemological Advantages of the Notion of “Intervenient Aesthetic Field”

Matteucci G.
2022

Abstract

The reality of the aesthetic seems to manifest itself more and more in relational and immersive ways that defy analyses that follow the trail of the modern tradition of philosophy, based on the dual gnoseological relationship between subject and object. Even some areas of the new cognitive sciences seem to converge towards a conception of experience as a complex horizon in which variously related vectors operate. From this point of view, it is worth exploring the notion of “field” as a conceptual tool to describe the aesthetic. In this paper we will consider two possible uses of this notion in reference to the aesthetic: to describe experiential modes (following Arnold Berleant), and to describe social dynamics (following Pierre Bourdieu). Yet, the starting point will be some considerations provided by Peter Abbs. We will thus try to show how the notion of “aesthetic field” can be consonant with scientific settings that advocate models of mind that stress its being extended and situated. A particular test bed will be the psychology of art as a discipline spanning philosophical knowledge and empirical investigation. In this key will also be considered the so-called “experiential revolution” in psychology, which indicates an extra-cognitive horizon variously coinciding with the perspective of an aesthetic research focused on the conception of aisthesis as a system of practices of perception, emotion, and expression. According to this conception, the dynamics within the aesthetic field, such as those related to the nexus between perceptual contents and aesthetic properties, or between emotional content and the practices of sensing could prove to be dynamics of “intervenience,” rather than of supervenience.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11585/880296
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