Academic literature on the topic 'Attention esthétique'
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Journal articles on the topic "Attention esthétique":
Mazéas, Dominique, and Claire Nioche. "Regards partagés sur l’émergence du lien par la danse." Recherches en psychanalyse N° 35/36, no. 1/2 (April 5, 2024): 118–32. http://dx.doi.org/10.3917/rep2.035.36.0118.
Dumouchel, Daniel. "Entre métaphysique et esthétique." Dossier. La philosophie à l’Académie de Berlin au XVIIIe siècle 42, no. 1 (July 13, 2015): 51–72. http://dx.doi.org/10.7202/1032217ar.
Tauveron, Catherine. "L'écriture littéraire : une relation dialectique entre intention artistique et attention esthétique." Repères 26, no. 1 (2002): 203–15. http://dx.doi.org/10.3406/reper.2002.2402.
Faure, Jacques, and Yves Bolender. "L’appréciation de la beauté : revue de littérature." L'Orthodontie Française 85, no. 1 (March 2014): 3–29. http://dx.doi.org/10.1051/orthodfr/2013073.
Châtel, Laurent. "La « main invisible » ? Esthétique et attention environnementales dans les jardins en Grande-Bretagne au 18e siècle." Dix-huitième siècle 54, no. 1 (June 30, 2022): 275–302. http://dx.doi.org/10.3917/dhs.054.0275.
Gendron-Blais, Hubert. "S’exposer aux aléas. Essai sur les risques du rapport esthétique et politique." Cahiers d'histoire 33, no. 1 (April 8, 2015): 81–99. http://dx.doi.org/10.7202/1029363ar.
Kaës, Emmanuelle. "Claudel et la peinture: "l'enchantement" mélancolique." Revue d'histoire littéraire de la France o 95, no. 2 (February 1, 1995): 260–305. http://dx.doi.org/10.3917/rhlf.g1995.95n2.0260.
Nutting, Stéphanie. "L’animal au théâtre ou la mise en jeu d’une altérité radicale." L’Annuaire théâtral, no. 50-51 (July 17, 2013): 155–69. http://dx.doi.org/10.7202/1017319ar.
Gastal, Sylvain. "Une variation japonaise sur Les Jeux et les Hommes de Roger Caillois : Tada Michitarō et les vertiges du ludique." Diogène 279-280, no. 3 (February 5, 2024): 45–62. http://dx.doi.org/10.3917/dio.279.0045.
Érard, Yves. "La chanson comme expérience." FLE: français langue en expérience(s) 323 (2024): 127–52. http://dx.doi.org/10.4000/11qei.
Dissertations / Theses on the topic "Attention esthétique":
Mortu, Ancuta-Maria. "De la cognition esthétique à l'esthétique cognitive : une étude généalogique." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0138.
The purpose of this thesis is to draw a genealogy of cognition as a constitutive part of aesthetic experience, considering that this field has been developing ever since the birth of the discipline of aesthetics itself. More specifically, we argue that aesthetic experience, as any ordinary experience, is an information-processing activity whose dynamics car be accounted for by using the conceptual tools of cognitive psychology. The main questions that we ask throughout this work, that also concern the philosophical aesthetics as well as the history of ideas, are the following : what are the informational processes involved in aesthetic experience ? In what respect did the concept of information modify the classical approaches to aesthetic experience ? In what way does it contribute to understanding the phenomenology of this particular type of experience ? In order to give an answer to these questions, we have organized this work into two parts : Part I deals with the archeology or the prehistory of cognition and its presence in aesthetic discourse, namely in the enlightenment period and at the birth of experimental psychology, while Part II comprises a close analysis of the architectural structure of informational aesthetic models that are being developed starting with the second half of the twentieth century. The genealogical approach that we favor allows us to emphasize the continuing relevance of questions related to invariants of mental reality engaged in aesthetic encounters
Baldissera, Marcia. "Quelles expériences pour quels films? Les temps de notre relation esthétique au monde." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0074.
The aim of this thesis is to analyze the aesthetic structure of the cinematographic experience. We depart from a definition of film as an (audio)visual flux with a beginning, an evolution, and an end. From the evidence of this constructive principle, this thesis intends to show how the temporal structure of films generates cognitive differences in the spectators' experience. The notion of “temporal structure” is related to the ordering of shots and sounds within their durations in succession and/or in simultaneity, while the adjective “cognitive” refers to the acquisition process and use of our knowledge. This study is based on Kant's aesthetics, Husserl's phenomenology, Deleuze's cinema analysis, Searle's Intentionality, and Schaeffer's aesthetic and fiction cognition theories, in an interdisciplinary perspective, drawing on cognitive sciences empirical data. It is a comparative analysis of the unfolding of the cinematographic reception process – perception, attention and comprehension – and takes the different times of this reception into account, that is, the relation between the object film and the spectators. The objective is twofold: on the one hand it is a question of uncovering the cognitive implications of the cinematographic technique for the spectators' experience through close consideration of the functions of this technique and the principles which the authors’ Intentionality have inscribed upon it; on the other hand, it is a question of evaluating the scope of these constructive and Intentional principles on contemporary cinema, as recent decades have emphasized the progressive radicalization of filmic rhythm. Cinema becomes as such an example of the temporal structures that uphold our relation to the real world
Coavoux, Samuel. "Sociologie de l'expérience esthétique. Contextes et dispositions dans les réceptions muséales d'un tableau de maître." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN009.
Drawing on an ethnographic study of the receptions of a Nicolas Poussin's painting curated at the Fine Arts Museum in Lyon, France, this dissertation analyses the position of museum visiting in the leisure repertoire of the middle and upper-middle classes. Three main data sources are used: about 50 days of observation of the activities of museum visitors, 45 reception interviews carried out inside the museum, and 18 biographical interviews on visiting habits with occasionnal or regular museum visitors. The dissertation sheds light on the central role of the artwork's status in their orientation and the distribution of their attention. This practical use of cultural legitimacy leads to a paradox: the painting is considered a masterpiece, but it has little aesthetic appeal. A lexicometric analysis of a corpus of newspapers articles confirms that this perspective may be extended to professional audiences, such as journalists. The unease this contradiction provokes in the audience is a reminder of the centrality of statutory artistic skill. The dissertation then analyses how mediation devices are used to fill this gap. The disconnection between the use of devices and the contemplation of the painting might be interpreted as the sign of how important the authorized, institutional discourse on the artwork is for visitors with low to average levels of specific resources. Finally, an analysis of visitors' biographies demonstrates that a normative injunction to visit greatly weights in visitors' practices, but that visits mostly occurs when they are embedded into leisure routines
Essoukan, epee Hermann. "La Vision poétique du 'Monde' dans les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache." Electronic Thesis or Diss., Université Grenoble Alpes, 2023. http://www.theses.fr/2023GRALL024.
The present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation
Bailblé, Claude. "La perception et l'attention modifiées par le dispositif cinéma." Paris 8, 1999. http://www.theses.fr/1999PA081734.
Allaire, Louise. "Le théâtre jeune public, les conditions favorables à l’expérience esthétique : trajectoires de deux créations contemporaines et interdisciplinaires destinées à l’extrémité des âges de l’enfance." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40559.
Vallet, Cécile. "L'improvisation dans les pratiques physiques et artistiques : contribution à la compréhension des processus attentionnels et mnésiques en jeu dans la génération d' actions." Bordeaux 2, 2001. http://www.theses.fr/2001BOR28883.
Leclercq, Christophe. "Experiments in Art and Technology : la question environnementale." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010663.
The theoretical and practical activity of Experiments in Art and Technology (E.A. T.) raises a number of aesthetic problems - those posed by an organization whose aim was to facilitate and encourage collaboration between artists and engineers, both inside and outside the art world. This thesis investigates the eruption of environmental issues in art and the use made by E.A.T.'s main actors of the ambiguous concept of the environment, a concept which includes not only what surrounds us but also that which can have an influence on us. By juxtaposing and comparing what John Cage, Robert Rauschenberg and Robert Whitman had to say about their practice with key works on the infiltration of technology into our lives, we will identify an environmental approach that is part of an “explicitation” of the contemporary environment by and through art. These artists strive to highlight, through their work, the aesthetic qualities of a natural and artificial environment, the consequences of which cannot leave us untouched or indifferent. The focus on perception in the experience of this environment reflects a common interest in a 'phenomenal physics' which, even if related scientific concerns, also differs significantly from them. It is not only a question of the transformation of this pervasive environment into a perceived space but also a matter of investigating the place and role of the artist in the shaping of the human environment. Thus we see in E.A.T.'s program an activity a form of action-research focused on the individual, which envisages also the possibility not only of living in but of existing with one's environment
Ronetti, Alessandra. ""Chromomentalisme" : psychologies de la couleur et cultures visuelles en France au passage du siècle (1870-1914)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H090.
Whilst the influence of color optical theories on the development of pictorial techniques in the Nineteenth and Twentieth centuries has been the subject of numerous studies, the field of color psychology needs to be explored further. Our research focuses on the historical and epistemological links between psycho-physiological approaches to color - derived from the discourse of experimental psychology, psychiatry and psychic sciences - and visual cultures at the turn of the Twentieth century. This dissertation explores the power of color as mental conditioning, or «chromomentalism» : how color influences the mind and more broadly the body of the individual by affecting its ability to concentrate, health or mood. The thesis presents three major axes that correspond to multiples aspects of color psychology : color-attention, color-energy and color-emotion. The first part analyzes the attention-grabbing devices used both in the laboratory and on stage, the dialectic between attention and distraction in urban experiences, and the rise of psychotechnics of color (art, cinema, advertising:). The second part explores the oractices of energetic control (the utopian goal of the "body without fatigue", neurasthenia, psychotechnics of energy) and the bio-aesthetic interpretation of color that emerges from occultism and experimental sciences. The third part focuses on the power of color to affect emotion, by questioning the debate on empathy and the education of the senses, the popular aesthetics of colors, the link between chromatic and social harmonies
Ronetti, Alessandra. "«Chromomentalisme» : psychologies de la couleur et cultures visuelles en France au passage du siécle (1870-1914)." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/85773.
Alors que l'influence des théories optiques de la couleur sur le développement des techniques picturales aux XIXe et XXe siècles a fait l'objet d'études nombreuses, le champ, tout aussi déterminant, de la psychologie de la couleur demande à être exploré plus en avant. Notre recherche porte sur les liens historiques et épistémologiques entre les approches psycho-physiologiques de la couleur - empruntées aux discours de la psychologie expérimentale, de la psychiatrie et des sciences psychiques - et les cultures visuelles, au tournant du XXe siècle. Ce travail explore le pouvoir de conditionnement mental de la couleur, ou «chromomentalisme» : comment la couleur influence l'esprit et plus largement le corps de l'individu en affectant sa capacité de concentration, sa santé ou son humeur. La thèse présente trois grands axes qui correspondent à des déclinaisons différentes des psychologies de la couleur : la couleur-attention, la couleur-énergie et la couleur-émotion. La première partie analyse les dispositifs d'emprise attentionnelle utilisés à la fois en laboratoire et sur scène, la dialectique entre attention et distraction dans les expériences urbaines, et l'essor des psychotechniques de la couleur. La deuxième partie explore les pratiques d'emprise énergétique (le mythe du corps sans fatigue, la neurasthénie) et l'interprétation bio-esthétique de la couleur qui émerge à fois du débat occultiste et expérimental. La troisième partie porte sur le pouvoir de gestion des affects, en mobilisant le débat sur l'empathie et l'éducation des sens, l'esthétique populaire des couleurs, les modes de relation entre harmonies chromatiques et sociales.
Conference papers on the topic "Attention esthétique":
Aguilá-Solana, Irene. "Des eaux qui embellissent : les fontaines dans le Nouveau Voyage en Espagne (1782) de Peyron." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3099.
Sonesson, Göran. "Rhetoric from the standpoint of the Lifeworld." In Le Groupe μ : quarante ans de rhétorique – trente-trois ans de sémiotique visuelle. Limoges: Université de Limoges, 2010. http://dx.doi.org/10.25965/as.3106.