- Universidad de Buenos Aires, Facultad de Filosofía y Letras, Graduate StudentCentro de Investigaciones Filosóficas, Programa de Estudios en Filosofía del Arte, Department Member, and 3 moreadd
- Doctora en Filosofía (UNSAM) y Docteure en Esthétique, sciences et technologies des arts (Université Paris 8). Lic. e... moreDoctora en Filosofía (UNSAM) y Docteure en Esthétique, sciences et technologies des arts (Université Paris 8).
Lic. en Filosofía (UBA).
Becaria doctoral (2016-2022) y post-doctoral del CONICET.
Pianista y cantante. Compositora.edit
At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in... more
At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in the Anglo-Saxon tradition. In such context, this paper intends to give an overview of the philosophical contributions on the subject made so far, and provide some guidelines for its study in the field of aesthetics. After reconstructing the debate, starting from Theodor W. Adorno’s thoughts on mass music as prolegomena and arriving at the so-called “ontologies of rock”, this article takes an aesthetic point of view concerning the specificity of pop-rock and argues that the decisive aspect of the genre in the choir of popular musical expressions lies in the unique role of technology applied in its production.
Research Interests:
El tratamiento de la música de masas resulta particularmente periférico dentro del corpus de la estética filosófica. No obstante, la omnipresencia de esta música en la experiencia cotidiana torna su estudio una tarea cada vez más... more
El tratamiento de la música de masas resulta particularmente periférico dentro del corpus de la estética filosófica. No obstante, la omnipresencia de esta música en la experiencia cotidiana torna su estudio una tarea cada vez más necesaria. Desde esta premisa, el presente trabajo se concentra en una de sus expresiones más relevantes: el pop-rock. Parte, para ello, de las consideraciones de Theodor W. Adorno sobre la música de la “industria cultural” y procede a revisar de las principales contribuciones de la tradición anglosajona, deteniéndose especialmente en las “ontologías del rock”. Sumando aportes de la musicología, desarrolla finalmente una línea de análisis acerca de la especificidad estético-estilística del género, apoyándonos en la relevancia del rol poiético de la tecnología.
Research Interests:
At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in... more
At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in the Anglo-Saxon tradition. In such context, this paper intends to give an overview of the philosophical contributions on the subject made so far, and to provide some guidelines for its study in the field of aesthetics. After reconstructing the debate, starting from Theodor W. Adorno’s thoughts on mass music as prolegomena and arriving at the so-called “ontologies of rock”, this article takes an aesthetic point of view concerning the specificity of pop-rock and argues that the decisive aspect of the genre in the choir of popular musical expressions lies in the unique role of technology applied in its production.
Research Interests:
Este trabajo se propone reponer y analizar las críticas que Theodor W. Adorno dirige a las composiciones y los procedimientos compositivos de la Escuela de Darmstadt en tanto profundización de ciertas tendencias del dodecafonismo, para... more
Este trabajo se propone reponer y analizar las críticas que Theodor W. Adorno dirige a las composiciones y los procedimientos compositivos de la Escuela de Darmstadt en tanto profundización de ciertas tendencias del dodecafonismo, para posteriormente abordar la propuesta de Adorno de una música informal, considerándola como un contrapunto y una superación respecto de estos desarrollos musicales y encauzándola, a su vez, con el ideal de libertad que le confiere al atonalismo libre así como con el trabajo sobre el material musical que postula para los estilos tardíos de Schönberg y Beethoven.
Research Interests:
The approach to mass music is particularly peripheral in the field of Aesthetics. However, the omnipresence of this music in everyday experience makes its study increasingly necessary. On that basis, this paper will focus on one of its... more
The approach to mass music is particularly peripheral in the field of Aesthetics. However, the omnipresence of this music in everyday experience makes its study increasingly necessary. On that basis, this paper will focus on one of its most relevant expressions: pop-rock music. To that end, it starts by analysing Theodor W. Adorno's thoughts on "culture industry" music and continues by reviewing the main contributions of the Anglo-Saxon tradition, giving special attention to the "ontologies of rock". After adding some relevant musicological analysis, it develops a line of thought concerning the aesthetic-stylistic specificity of this genre, which finds its basis on the creative role of technology.
Research Interests:
This paper intends to analyze Theodor W. Adorno’s critique of the compositions and compositional procedures of the Darmstadt School, considered as a development of certain dodecaphonic techniques, in order to deal with Adorno’s proposal... more
This paper intends to analyze Theodor W. Adorno’s critique of the compositions and compositional procedures of the Darmstadt School, considered as a development of certain dodecaphonic techniques, in order to deal with Adorno’s proposal of an informal music, on the one hand, as a counterpoint and a sublation in respect to these musical developments and, on the other hand, so as to link this proposal with the ideal of freedom he had seen in free atonality aswell as with the kind of work carried out, according to his view, in Schönberg’s and Beethoven’s late compositional style.
Research Interests:
This paper intends to read through Theodor W.Adorno’s critical analysis on Arnold Schönberg’s and Ludwig vanBeethoven’s late period compositions from the perspective of the Adornian concept of negativity. In this sense, the present... more
This paper intends to read through Theodor W.Adorno’s critical analysis on Arnold Schönberg’s and Ludwig vanBeethoven’s late period compositions from the perspective of the Adornian concept of negativity. In this sense, the present analysis, on the one hand, will take a standpoint in which the composers’ music, attending to a formal analysis of it, will be considered as “negative” in the sense that it presents a critical reflection of the decadence of the reconciliation ideal postulated by bourgeois humanism and Enlightenment philosophy, and on the other hand, it will identify some common features between Beethoven’s and Schönberg’s music works that will allow the postulation of Beethoven as a precedent for modern music.
Research Interests:
PICT 2016-0204. Agencia de Promoción Científica y Tecnológica (ANPCyT/ Fondo para la Investigación Científica y Tecnológica (FONCyT). Centro de Investigaciones Filosóficas (UA CONICET).
Research Interests: Cultural History, Aesthetics, Reception Studies, History of Ideas, Philosophy of Art, and 26 moreAesthetics and Ethics, Aesthetics and Politics, Literature and Philosophy, History and Philosophy of the Human Sciences, Reception History, Art and Philosophy, Estética, Historia Intelectual, Historia de las ideas latinoamericanas, Historia Cultural, Estética, Filosofía Del Arte, American Romantic aesthetics, Filosofía del arte, Estética y Teoría del arte, Music and philosophy, Historia de las ideas, Estudios sobre las ideas. Literatura e Historia cultural en América latina. Debates intelectuales., History of Philosophy, History and Philosophy of Art Education, Filosofía En Español, Latinamerican Philosophy, Continental Philosophy and Aesthetics, Historia Intelectual Argentina, historia de las ideas estéticas en Argentina, Historia de las ideas estéticas, and Estética argentina
Proyecto de Investigación UNSAM/ Escuela de Humanidades(Centro de Estudios Filosóficos) (G125 2014-2015-G150 2015-2016) y Centro de Investigaciones Filosóficas (2014-2016)