Trans/Form/Ação 27 (2):113-142 (2004)

Abstract
Following text places in dialogue or applies to a certain conception of aesthetic experience a vast set of experimental evidences extracted from the inquiry of other mental phenomena, in particular the subjective experience of emotions and feelings. Comimg from António Damásio the beam master, the skeleton, the base, the structure of all my argument. My main hypothesis is that certain objects and situations activate cerebral dispositional hyper-spaces associated to the ocurrence of phenomena like sensation of beauty, pleasure and joy. I consider that the emergency of an aesthetic experience must be understood as resulted of a sensible perception that set in motion a somatic-cognitive routine function of the detonation of a pattern of dispositionals neural patterns.O texto a seguir apresenta em diálogo ou aplica a uma certa concepção de experiência estética um amplo conjunto de evidências experimentais retirado da investigação de outros fenômenos mentais, em particular a experiência subjetiva de emoções e sentimentos. Provém de António Damásio a viga mestra, o esqueleto, a base, a estrutura de toda a minha argumentação. Minha principal hipótese é a de que certos objetos e situações ativam hiper-espaços dispositivos cerebrais associados à ocorrência de fenômenos como sensação de beleza, prazer e alegria. Proponho que a emergência de uma experiência estética deve ser compreendida como resultado de uma percepção sensível que aciona uma rotina somático-cognitiva, função do disparo de um padrão de padrões neurais dispositivos
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DOI 10.1590/S0101-31732004000200007
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Meno. [REVIEW]S. M. D. - 1950 - Journal of Philosophy 47 (19):555-556.
Consciousness, Art, and the Brain: Lessons From Marcel Proust.Russell Epstein - 2004 - Consciousness and Cognition 13 (2):213-40.

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