Perception, Emotion and Action in Arts, Musics and Literature

Slide 1: PERCEPTION, EMOTION AND ACTION IN ARTS, MUSICS AND LITERATURES Anatole Pierre Fuksas

Slide 2: John Coltrane Blue Train (1957)

Slide 3: 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.

Slide 4: Jackson Pollock Lavender Mist: Number 1 (1950)

Slide 5: 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.

Slide 6: 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.

Slide 7: 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.

Slide 8: Giuseppe Ungaretti, Fratelli(Mariano, 15 Luglio 1916) Original Editing (1916) Final Editing Original title: «Soldato» 1942 edition Di che reggimento siete Di che reggimento siete fratelli? fratelli? Fratello Parola tremante tremante parola nella notte nella notte Foglia appena nata come una fogliolina Nell’aria spasimante appena nata involontaria rivolta saluto dell’uomo presente alla sua accorato fragilità nell’aria spasimante Fratelli implorazione sussurrata di soccorso all’uomo presente alla sua fragilità

Slide 9: 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.

Slide 10: Ludovico Ariosto Orlando Furioso XXII (1532) 105 107 Ma sempre più raccende e più rinuova, Il mesto conte a piè quivi discese; quanto spenger più cerca, il rio sospetto: e vide in su l'entrata de la grotta come l'incauto augel che si ritrova parole assai, che di sua man distese in ragna o in visco aver dato di petto, Medoro avea, che parean scritte allotta. quanto più batte l'ale e più si prova Del gran piacer che ne la grotta prese, di disbrigar, più vi si lega stretto. questa sentenza in versi avea ridotta. Orlando viene ove s'incurva il monte Che fosse culta in suo linguaggio io penso; a guisa d'arco in su la chiara fonte. et era ne la nostra tale il senso: 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.

Slide 11: 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.

Slide 12: 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.