Download Cinéma dans la Tête: L'esthétique du film à la lumière des by Emmanuelle Glon PDF

By Emmanuelle Glon

L’approche cognitiviste proposée dans cette étude vise à inscrire l’expérience que nous avons du movie dans le prolongement créatif et ludique de notre activité générale de compréhension du monde et de l’esprit. De ce element de vue, l’image filmique n’est ni un objet de signification langagière, ni une reason de marginalité mentale, mais un vaste champ expérimental où s’élaborent et se révèlent l. a. complexité et los angeles finesse de l. a. mentalisation humaine. Par l. a. variété de ses formes, ses particularités concepts et scéniques ainsi que sa nature mouvante, le movie est une subversion de los angeles nature. En lui imposant ses prérogatives, le movie permet au cerveau humain d’exploiter sa propre créativité, au-delà de ses propres lois et sans lequel l’expérience esthétique n’aurait jamais pu exister. En associant à los angeles réflexion esthétique les apports explicatifs des neurosciences cognitives, l’analyse de l’expérience du movie en général et du cinéma en particulier participe à un tournant dans los angeles réflexion philosophique sur l’esprit.

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Par conséquent, l’essor de l’imagination au sein du débat ‹ esprit-cerveau › serait consolidé : le concept d’imagination est doté d’une pertinence scientifique et il ne s’agit plus de se demander si et en vertu de quoi l’intentionnalité de nos croyances pourrait être intégrée à une science cognitive sur l’esprit mais si et en vertu de quoi l’intentionnalité de l’imagination pourrait être ainsi intégrée. Si les simulationnistes disent vrai, alors cela veut dire que la base mentale de notre rapport au monde change : l’attitude par défaut de l’homme n’est pas l’action motrice, vers laquelle la mentalisation humaine trouverait sa finalité, autrement dit sa survie, mais ce serait au contraire l’inhibition de l’action modélisée par un processus imaginatif.

3 Selon cette théorie, il existe une certaine sorte d’image dont il est impossible de voir simultanément la surface et l’objet qu’elle représente. Un tel paradoxe satisfait l’intuition. Quand vous regardez un tableau abstrait, vous voyez deux choses, la surface d’un artefact concret, composée de lignes, de formes et de couleurs, et ce à quoi cette surface réfère. Vous voyez donc une troisième dimension à partir d’un à plat coloré en deux dimensions. Maintenant, essayez de faire la même chose avec Le Baiser de l’Hôtel de Ville de Doisneau.

31 32 goodmanienne est aujourd’hui largement contestée, aussi bien à cause des faiblesses internes de la sémantique philosophique du « langage symbolique » qu’elle défend que de son faible investissement empirique quant à la nature de la dépiction et sa relation avec la vision. Selon Goodman, il y aurait autant de styles picturaux que de conventions, étant donné que n’importe quoi peu dénoter n’importe quoi. Et certes, un urinoir peut dénoter une fontaine. Mais il n’est pas certain que de telles associations libres soient aussi le fait de la dépiction.

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