Institut Jean Nicod

Accueil > Séminaires/Colloques > Séminaires > SublimAE > The Sublime and Aesthetic Experiences Seminar



Le Sublime et les Expériences Esthétiques

       

Le séminaire SublimAE (Le sublime et les expériences esthétiques), lié au projet ANR « SublimAE », se concentrera sur l’étude interdisciplinaire des expériences esthétiques, avec une attention particulière au sublime, en réunissant la philosophie, la psychologie et les sciences sociales. Nous explorerons, d’une part, comment l’expérience du sublime se connecte à d’autres expériences similaires ou opposées (le beau, la beauté terrible, le « awe », l’émerveillement, l’inquiétant, …), et, d’autre part, l’impact de ces expériences, et plus spécifiquement des expériences esthétiques, sur notre représentation du soi. Le séminaire comportera des présentations des participants du projet mais aussi des présentations invitées.

Lieu : Salle de réunion de l’Institut Jean Nicod

Contact : Margherita Arcangeli, Jérôme Dokic

Pour le programme complet, cliquez ici

      


          

Prochains SublimAE

          

             

Dustin Stokes (University of Utah), TBA

"Expertise and the contents of experience"

18 Octobre, de 15h00 à 17h00

This lecture begins with the thesis that thinking improves perceiving. Cases of perceptual expertise are cases where perceptual experience is, to some degree, optimized ; and the relevant improvements depend on the domain-sensitive cognitive learning of the expert. This has significant epistemic consequences (see Lecture 2), but it also has important consequences for how we theorize perceptual content. First, determinants of perceptual content are not Objective in a purely mind-independent sense ; they are inter-subjectively objective. They include facts about the environment, but also facts about the perceiver’s epistemic community, which can be very broad or quite narrow. Perceptual success, including accuracy, is determined in part by the task or goal of the perceiver, which can be specific to a domain, be it forensics or football. Second, enhanced perceptual sensitivity of this kind – to patterns, gestalts, and organizational features – is to enjoy rich perceptual content. Importantly, this lesson is partly learned by considering cases of perceiving aesthetic properties : The ballet instructor sees not only the colours, edges, shapes, and motion of her pupils but also how those features are organized in ways that are balanced or serene or graceful.

            

Larissa Berger (Forschungsinstitut für Philosophie Hannover)

"What Is It Like to Feel Beauty"

8 Novembre, de 15h00 à 17h00

             

Esteban Buch (EHESS, CRAL) & Mario Lorenzo (EHESS, CRAL)

"Le beau vs le sublime : l’apport de l’analyse musicale"

22 Novembre, de 15h00 à 17h00

           

Alice Dupas (Université Grenoble Alpes)

"L’approche neuroscientifique du sublime : ses applications et ses limites pour l’étude des arts visuels"

13 Decembre, de 15h00 à 17h00

            


 

SublimAE passés

 

 

Amélie Jacquot (Université Paris 8) 

"Étudier le sublime en musique : une approche expérimentale"

14 juin, de 13h00 à 15h00

L’étude expérimentale des expériences esthétiques, et plus spécifiquement du sublime, s’accompagne de difficultés méthodologiques quant à l’opérationnalisation des concepts et la création de stimuli capables de déclencher ces expériences en laboratoire. Récemment, un intérêt particulier a été accordé à la réalité virtuelle pour étudier le sublime. Étonnamment, bien que les neurosciences cognitives utilisent régulièrement la musique pour induire de fortes émotions, peu d’études ont eu recours à ce type de stimuli pour investiguer le sublime. Dans ce séminaire, nous essayerons de voir comment nous pouvons espérer évaluer une expérience de sublime auprès de différents participants dans le cadre restrictif d’une étude en laboratoire. Nous présenterons la méthodologie et les premiers résultats expérimentaux obtenus pour une de nos études qui interroge les caractéristiques de l’expérience du sublime en musique.

 

Hyojun Lee & Marco Sperduti (LMCC)

"The beauty and the self"

31 mai, exceptionnellement de 11h00 à 13h00

A long-lasting and unresolved debate in the field of aesthetics is the extent to which beauty is inherent to the object of appreciation or to the subject contemplating it. Several studies suggest that physical features (e.g., symmetry, contrast) of an artwork influence aesthetic judgement. Nevertheless, this objectivist approach fails to explain the idiosyncratic nature of aesthetic experiences (AE). Recent models propose a multi-process account of AE, integrating a subjective evaluation based on self-referential processing. This proposition seems coherent with neuroimaging studies showing activation of a common neural network during AE and self-reference. Nevertheless, behavioural data supporting this hypothesis is scarce. We took advantage of the self-reference effect (SRE) in memory – the mnemonic advantage for material encoded in a self-related mode – to test the hypothesis that aesthetic judgement is based on self-related processes. We predicted that if aesthetic judgement recruits self-referential processing, incidentally encoding artworks in this condition should produce a similar mnemonic advantage as the SRE. To test this hypothesis, 30 participants incidentally encoded 60 painting in three conditions : self-reference, judgement of beauty and judgement of symmetry (control condition). We found that items encoded in the aesthetic judgment condition were as well recognized as those encoded in self-reference condition when participants gave extreme judgements on the beauty scale during encoding. These findings suggest that at least intense AEs activate an individual’s sense of self.

 

Sandra Shapshay (CUNY)

"The Sublime Aesthetics of Monuments"

17 mai, exceptionnellement de 17 h à 19 h

This presentation explores the use of sublime responses in works of public commemorative art, like monuments and memorials. Traditional monuments have long aimed to provoke a “monumental” response that seems a close cousin of the sublime. And several recent, prominent memorials—Peter Eisenman’s Memorial to the Murdered Jews of Europe (2005) in Berlin, Michael Arad’s National 9/11 Memorial (2011) in New York, and the MASS Design Group’s National Memorial for Peace and Justice (2018) to the victims of anti-Black, racial terror lynching in the United States, in Montgomery, Alabama—seem clearly intended to overwhelm the spectator utilizing pronounced, sublime aesthetic codes. Yet it would be inapt to say that their intended aesthetic effect is truly that of the sublime, for the overall valence of the sublime is positive, pleasurable and uplifting, and the overall valence of (appropriate) experience with these memorial works is negative, painful, verging on horror. Utilizing what I’ve called a “two-tiered theory of the sublime,” (Shapshay, BJA 2021) as well as an analysis of a related aesthetic category, “the monumental” (Shapshay, JAAC 2021) I shall offer an analysis of what seems to be transpiring in these cases that seem to verge on but also veer away from provoking a sublime response, and thus hope to shed some light on the uses of the sublime response in art.

 

Jérôme Dokic (EHESS-IJN)

"Self-transcendent experiences and the sublime"

12 avril, de 13h00 à 15h00

Dans la littérature comme dans la science, les descriptions abondent d’expériences « d’auto-transcendance », qui semblent modifier les frontières entre soi-même et le reste du monde. Les sujets de ces expériences rapportent souvent qu’ils se sentent étendus, unis au monde, ou au contraire diminués, comme s’ils étaient minuscules ou insignifiants, voire entièrement coupés du monde. Parfois, ils rapportent la disparition de leur propre distinction d’avec le monde (« ego-dissolution »). L’objectif de la présentation est de rendre compte des expériences auto-transcendantes et d’identifier le niveau de conscience de soi dont elles relèvent. L’hypothèse principale défendue est que les expériences d’auto-transcendance sont des cas particuliers de sentiments métacognitifs de familiarité ou d’étrangeté. Les recherches théoriques et empiriques sur les seconds peuvent alors être exploitées pour jeter la lumière sur les premières.

 

Tom Cochrane (Flinders University)

"Aesthetic values are distal versions of practical values"

22 mars, exceptionnellement de 9h00 à 11h00
 

In this talk I will outline a novel general theory of aesthetic value that is supposed to apply to all the specific aesthetic values such as the beautiful, the sublime, the comic, and the dramatic. This theory balances Kantian considerations about valuing the object for its own sake with more recent theories that aesthetic values have motivational aspects that are continuous with the rest of our lives. I argue that when we value an object aesthetically, we regard it as simply good, rather than good for me or good for us (contra practical value and moral value). Yet this is made possible by psychological mechanisms that humans possess for the distal detection of something of potential practical value. Thus aesthetic values are ‘distal versions’ of practical values and both continuous with, and explicable by reference to our practical drives.

 

Emily Brady (Texas A&M University)

"The Sublime and Wonder"

15 mars, exceptionnellement de 17h00 à 19h00

This paper explores the contemporary relevance of the sublime and wonder to questions and issues within the context of nature, environment, aesthetics, and religion. I begin with a brief, recent history of aesthetic and religious discussions of sublimity, before examining the contemporary sublime in relation to ‘other-regarding attitudes’ toward nature.
I then consider recent cross-disciplinary discussions of varieties of wonder and show how wonder invites receptivity in relation to the more-than-human world. In the concluding section, I offer a comparison of the sublime and wonder in order to show the different ways in which they support sympathetic attitudes with respect to the environment.


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