PERCEPTION, EMOTION AND ACTION IN ARTS, MUSICS AND LITERATURES Anatole Pierre Fuksas

John Coltrane Blue Train (1957)

Jazzy Groove As it happens with abstract art, Jazz music hardly make it possible for listeners to disentangle perceptual experience from related emotions they feel and actions they can eventually figure out while going with the flow the sax melody provide them with. Music in general is a deeply entangled groove, binding, merging and melting together perceptual events, emotions and actions armonic modulations refer to.

Jackson Pollock Lavender Mist: Number 1 (1950)

Action Painting Abstract art basically encode references into acts of painting that make impossible to unsnarl perceptual events, emotions and action from each other. Action painting is very likely the typical case, since it purposefully aims to tie into an inextricable knot perception of colors and shapes, triggered emotions and mirrored gestures the artwork has been realized through.

Michelangelo, David(1501-1504) Figurative art strongly narrows the array of potential references triggered by aesthetic esperience, especially when historical or mythological subjects are portrayed.

Leonardo, Gioconda (1503-1506) Still, identity of portrayed characters as position of painted landscapes keep showing a significant enigmaticity. Aesthetic experience strongly relies on analogical compensation, based on individual experiences of similar subjects and/or didascalic remarks.

Giuseppe Ungaretti, Fratelli ( Mariano, 15 Luglio 1916) Original Editing (1916) Original title: «Soldato» Di che reggimento siete fratelli? Fratello tremante parola nella notte come una fogliolina appena nata saluto accorato nell’aria spasimante implorazione sussurrata di soccorso all’uomo presente alla sua fragilità Final Editing 1942 edition Di che reggimento siete fratelli? Parola tremante nella notte Foglia appena nata Nell’aria spasimante involontaria rivolta dell’uomo presente alla sua fragilità Fratelli

Ermethic Poetry Poetic reference to perceptual events, emotions and actions may build up very effective and consistent concepts. Still, borders and «furnishing» of the «ecological niche» defined by the poem are mostly processed by the reader or the listener according to his own understanding of the concept.

Ludovico Ariosto Orlando Furioso XXII (1532) 107 Il mesto conte a piè quivi discese; e vide in su l'entrata de la grotta parole assai, che di sua man distese Medoro avea, che parean scritte allotta. Del gran piacer che ne la grotta prese, questa sentenza in versi avea ridotta. Che fosse culta in suo linguaggio io penso; et era ne la nostra tale il senso: (…) 105 Ma sempre più raccende e più rinuova, quanto spenger più cerca, il rio sospetto: come l'incauto augel che si ritrova in ragna o in visco aver dato di petto, quanto più batte l'ale e più si prova di disbrigar, più vi si lega stretto. Orlando viene ove s'incurva il monte a guisa d'arco in su la chiara fonte. 106 Aveano in su l'entrata il luogo adorno coi piedi storti edere e viti erranti. Quivi soleano al più cocente giorno stare abbracciati i duo felici amanti. V'aveano i nomi lor dentro e d'intorno, più che in altro dei luoghi circonstanti, scritti, qual con carbone e qual con gesso, e qual con punte di coltelli impresso.

The Novel as an Ecological Niche Borders and furnishing of the ecological niches defined by novels are analitically portrayed by means of inter-dependent character specific descriptions of perceptual events, emotions and actions . Literary format of the novel emerged as a global standard since it eases quick disentangling of described events.

Assignment What if Blue Train, Mona Lisa and Fratelli were novels instead of a blues, a painting and a poem? Describe characters, environment and plot resulting from their interaction.

What if Blue Train, Mona Lisa and Fratelli were novels instead of a blues, a painting and a poem? Describe characters, environment and plot resulting from their interaction.