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Este artigo começa por realçar a universal valorização da arte num quadro tradicional e paradoxal em que as ciências humanas não logram a sua cabal definição e as ciências exatas não a consideram digna de interesse. Foca depois a problematização da evolução da arte e da experiência estética a partir da segundametade do séc. XIX relativamente à sua receção, que se agudiza na contemporaneidade, registando, paradoxal e paralelamente, por um lado um aumento da sua popularidade e mitificação, por outro uma mudança de posicionamento das ciências exatas que, sobretudo através das neurociências, lhe passam a dedicar estudos. À luz desta problematização, analisa de seguida e compara cinco estudos pioneiros e recentes de neurocientistas e teóricos da semiótica cognitiva sobre a arte e a experiência estética, registando os seus contributos inovadores para a compreensão das mesmas, mas também as suas limitações – e, por fim, o seu caráter promissor em termos de futuro.
The article starts emphasizing the fact that art is universally appreciated although, paradoxically, humanities have never achieved its thorough definition and exact sciences traditionally never considered it worth of interest. It then focuses on the problematization of art’s and aesthetic experience’s evolution in terms of reception, from the second half of the 19th century on (getting more acute in contemporaneity), at the same time and paradoxically registering on the one hand art’s contemporary mythicizing and increase in popularity and on the other a new studying interest from the exact sciences – especially neurosciences. In the light of this problematization it then analyzes and compares five recent and pioneering studies from neuroscientists and cognitive semiotics theorists on art and the aesthetic experience, registering their innovative contributes for the understanding of these themes, but also their limitations and, finally, their promising character in terms of the future.
The article starts emphasizing the fact that art is universally appreciated although, paradoxically, humanities have never achieved its thorough definition and exact sciences traditionally never considered it worth of interest. It then focuses on the problematization of art’s and aesthetic experience’s evolution in terms of reception, from the second half of the 19th century on (getting more acute in contemporaneity), at the same time and paradoxically registering on the one hand art’s contemporary mythicizing and increase in popularity and on the other a new studying interest from the exact sciences – especially neurosciences. In the light of this problematization it then analyzes and compares five recent and pioneering studies from neuroscientists and cognitive semiotics theorists on art and the aesthetic experience, registering their innovative contributes for the understanding of these themes, but also their limitations and, finally, their promising character in terms of the future.
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Arte Experiência estética Neurociências Semiótica cognitica Neuro estética Art Aesthetic experience Neuroscience Cognitive semiotics Neuroaesthetics