Humans know when they themselves experience beauty, even though the term itself has been difficult to define adequately for a variety of reasons. Given this centuries’ old failure to give an adequate definition of beauty, perhaps the time has come to enquire whether the experience of beauty, regardless of its source, can be defined in neural terms.
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lack of artistic force and/or give the impression that he is “plucking the sleeve”
of the spectator. The success of the contemporary artist is therefore also
standing in his ability to delimit the artistic emotion, the genuine emotion that
he has discovered and which he wishes to convey, of the practical emotions
of the everyday existence and the general-aestheticemotions that the spectator
of every kind frequently has when coming in contact with art.
Objects in the world of performance are essentially nothing else but
representations of the existing
comprehension. Plessner chooses to describe it
according to the laws of sound. It is our intention to place it in relationship
with the perception of meaning, of the unconditional, of Mystery that can
be perceived in engaging (implied) vibration, in dazzling joy, in resplendent
color of sonorous vibrations of all music and of the Musical Idea.
3. Theology of Experience: Music as language of transcendence
3.1 Proposal for a Theology of Experience of aestheticemotion that leads to feeling
I would like to present very briefly some of the questions that, in my
– a metaphysical substrate that makes
this theatre inimitable. Vişniec is, as he himself explains, an old-fashioned
author, someone who believes with fateful naivety in the power of the word
and the message emanating from the aestheticemotion of a story. His stories
(in which the oneiric, the surreal, the nightmare are always infiltrated) contain,
beyond appearances, profound messages about the contradictions of the
1918-2018: 100 Years of Theatre Research in Iași
contemporary world. Through them, Matei Vişniec often builds a world of
. “Film Cultures”, 73-90. Berne: Peter Lang.
Jullier, Laurent. 2014. Alice au pays des travellings. Imaginaire visuel et dispositifs de mediation
optique. Écranosphère, 1(Hiver 2014): 1-20.
Jullier, Laurent. 2015. L’analyse de séquences. Paris: Armand Colin.
Jullier, Laurent. 2016. Le cinéma comme forme de communication floue. Revue française des
sciences de l’information et de la communication 9, no.9 (2016): 1-18.
Juslin, Patrick N. 2013. From everyday emotions to aestheticemotions: Towards a unified theory of
musical emotions, Physics of Life Reviews, 10
episodic memory associated with the
62 See, for example, the musical emotion concept of melancholy https://en.wikipedia.org/wiki/Saudade in Barrett (2017:
146; notes 385).
63 For an extensive review of the mechanisms that elicit “everyday” and “aestheticemotions” in “musical events” based
on pattern recognition, see Juslin (2013). His framework, in which the mechanisms of emotion induction are considered
“information-processing devices” which utilize the contextual information relevant for future behavior, can be