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This book analyses the dynamic relationship between art and subjective consciousness, following a phenomenological, pragmatist and enactive approach.
It brings out a new approach to the role of the body in art, not as a speculative object or symbolic material but as the living source of the imaginary. It contains theoretical contributions and case studies taken from various artistic practices (visual art, theatre, literature and music), Western and Eastern, the latter concerning China, India and Japan.
These contributions allow us to nourish the debate on embodied cognition and aesthetics, using theory-philosophy, art history, neuroscience-and the authors' personal experience as artists or spectators. According to the Husserlian method of "reduction" and pragmatist introspection, they postulate that listening to bodily sensations-cramps, heartbeats, impulsive movements, eye orientation-can unravel the thread of subconscious experience, both active and affective, that emerge in the encounter between a subject and an artwork, an encounter which, following John Dewey, we deem to be a case study for life in general.
Ce livre analyse la relation dynamique entre l'art et la conscience subjective, selon une approche phenomenologique, pragmatiste et enactive. Il vise a faire emerger une nouvelle approche du role du corps dans l'art, non pas comme objet speculatif ou materiau symbolique, mais comme source vivante de l'imaginaire. Les contributions theoriques et les etudes de cas sont prises a diverses pratiques artistiques (arts visuels, theatre, litterature et musique), occidentales et orientales, ces dernieres concernant la Chine, l'Inde et le Japon.
Selon la methode husserlienne de reduction, en echo a l'introspection pragmatiste, les textes temoignent que l'ecoute des sensations corporelles - crampes, battements de coeur, mouvements pulsionnels, orientation des yeux - mises en jeu par l'oeuvre, permet de denouer le fil de l'experience inconsciente, a la fois kinesthesique et affective, qui emerge dans la rencontre entre un sujet et une oeuvre d'art, une rencontre comprise, a la maniere de Dewey, comme un cas d'ecole de la vie en general.
