Non-creative and neuro-aesthetic writing: concepts, aspects, possibilities
One of the premises of non-creative writing provides that the procedure (copy and paste it) is as or more important than the final result of the work, leaving the audience with the understanding that best suits them (GOLDSMITH, 2015). We want to discuss forms of this “understanding”, considering som...
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| Formato: | Online |
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| Endereço do item: | https://periodicos.ufrn.br/odisseia/article/view/23037 |
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| Resumo: | One of the premises of non-creative writing provides that the procedure (copy and paste it) is as or more important than the final result of the work, leaving the audience with the understanding that best suits them (GOLDSMITH, 2015). We want to discuss forms of this “understanding”, considering some concepts of neuroscience, in particular those that focus on the relationship between mind, body and aesthetics - neuro-aesthetics. With the development of the cognitive sciences, the discussion of artistic processes began, in which terms such as “emotion”, “aesthetic feeling”, “empathy” etc., were seen as objects that function according to identifiable rules in the naturalization of the spectator-work-author relationship (COUCHOT, 2018). We will expose the “non-original” to this, risking comment on works such as Traffic (2007), Trânsito (2016) and HILLARY: The Hillary Clinton emails (2019), by Kenneth Goldsmith, Statement of facts, by Vanessa Place (apud Goldsmith, 2015), and the installation One and three chairs (1965), by Joseph Kosuth |
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