The article offers a first survey on the studies concerning imagination in an aesthetic and cogni... more The article offers a first survey on the studies concerning imagination in an aesthetic and cognitive perspective in Italy in the last two decades. From the aesthetic point of view, the research is focused in particular on reconsidering the imaginative function of organizing the sensible matter of perception, thus making it available to the subject’s experience – it is the process Kant called “schematism”. The recent aesthetic studies in Italy make new forms of schematism emerge, from the “free schematism” (Garroni), inspired by Kant’s aesthetic judgment, to the “interactive schematism” (Montani), which accounts for the interactions both the environ and the new technologies, up to the overlapping between schematism and “attention styles” of the mind (Desideri). Though influenced by the Kantian heritage, the Italian philosophy was able to confront with various traditions, from the English-speaking philosophy, especially that inspired by Wittgenstein (Borutti), to the German and Frenc...
The paper reconsiders the possibility of understanding the art of avant-garde in the light of the... more The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.The paper reconsiders t...
A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'e... more A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'evoluzione dell'estetica fotografica
In the present paper I propose to consider art as a specific form of documentality, much differen... more In the present paper I propose to consider art as a specific form of documentality, much different from ordinary documentality, usually made of objects like cards, tickets, maps and so on. Before considering documentality, we need to reconsider our theory of human communication. Following Searle's theory of social reality, art communication can be based on social ontology, which depends, in turn, on collective or intersubjective intentionality. I will not argue that art founds that intersubjective intentionality. I will attempt to show that some artworks, for instance pottery or architecture when they become archaeological documents, are able to show some characteristic features of documentality as an <em>activity</em>.
The paper analyses a movie recently appeared in Italy, Belluscone (2014) by Franco Maresco. The t... more The paper analyses a movie recently appeared in Italy, Belluscone (2014) by Franco Maresco. The title refers to the deformation of Berlusconi's name in Sicily. The movie does not speak, however, of the typically Italian "hero" Berlusconi, but of "Belluscone" that is the link for a common feeling whose Sicily is an exemplary case. Through the reference to Lyotard and Jauss among the others, the aim is to show that "Belluscone" is no longer a symbolic disposition, and becomes a sensible surface of contact to which everybody connects in order to have an experience. With its Baroque and ambiguous investigation of "bellusconian" Palermo, the movie makes no exception.
L'articolo ricostruire l'estetica e la filosofia dell'evento sottesa all'uso poli... more L'articolo ricostruire l'estetica e la filosofia dell'evento sottesa all'uso politico dell'immagine dopo l'attentato dell'11 settembre, nel cinema e nei media
Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent... more Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent past, artistic or video experimentation are not predominant aspects of aesthetic experience. Our enquiry is stimulated today by the investigation on the nature and functioning of media and interfaces and aims to clarify how our habits and experiences are changing. The essays gathered here put these questions into context and try to define the state of the art. In order to do so, they point out to a pivotal issue: that by speaking of “aesthetics” we refer more and more frequently to a theory of perception and sensitivity – and only occasionally to a theory of art. When we deal with creativity within this context, we refer to phenomena that can be only loosely referred to the domain of the arts, while they are relevant for the field of technique. We need to ask: Is aesthetics today a “technoaesthetics”, which concerns our forms of life rather than our taste for beauty
Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una form... more Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una forma esemplare di intermedialità. Per intermedialità non si intende solo l'accostamento di diversi formati mediali nel medesimo processo comunicativo (multimedia) o nella medesima opera d'arte (transmedialità); si intende invece la capacità di far dialogare diversi formati mediali allo scopo di arricchire l'esperienza del fruitore di nuove modalità di ricezione (sensibilità) e di nuovi strumenti di interpretazione (comprensione).
Lebenswelt: Aesthetics and Philosophy of Experience, 2018
The paper is concerned with arguing the existence of a relationship between the enactive theory o... more The paper is concerned with arguing the existence of a relationship between the enactive theory of perception and aesthetics. One of the leading figures in the theory of enactment, Alva Noe, pointed out that the works of art constitute one of the keys to understand how perception and cognition realize their enactment onto reality. Art objects are, in fact, a very peculiar case of artefacts since they are considered as being able to quicken the living beings’ organization in their interaction to the world. Do they create a different atmosphere? Do they “furnish” the surrounding habitat with new meanings? The paper argues that these are, of course, fundamental elements in the art’s action onto reality. As far as the subjective enactment of perception is concerned, together with power in designing life organization, art has arguably another original functions, that of building new “environs” where experience can meet reality under a different light and thus prepare the field for other ...
L’article traite d’une adaptation filmique pour la television francaise de Bouvard et Pecuchet, r... more L’article traite d’une adaptation filmique pour la television francaise de Bouvard et Pecuchet, realisee par Jean-Daniel Verhaeghe en 1989 d’apres le scenario de Jean-Claude Carriere et avec la musique de Michel Portal. La musique de Portal constitue l’objet majeur de cet article. La methode utilisee pour analyser le role joue par la bande sonore et musicale dans la construction du montage de cette adaptation releve de l’esthetique. L’article montre, en particulier, comment, dans le cas examine, l’œuvre de Portal ne correspond pas a la conception « harmonique » de l’entrelacs entre image et son, theorise et pratique par Eisenstein dans ses ouvrages theoriques ainsi que dans ses films. Au contraire, Portal travaille a une dimension sonore qui fait ressentir au spectateur l’incommensurabilite entre l’ideal d’un savoir total qui traverse les entreprises des personnages flaubertiens et leur « betise » dans l’effort de realiser cet ideal. Il s’agit par consequent d’un montage qui releve ...
Resonance is relevant to an aesthetic theory of media. In fact, since aesthetics has begun being ... more Resonance is relevant to an aesthetic theory of media. In fact, since aesthetics has begun being committed to the understanding of the nature and functioning of media, also outside their usage in art, the medium has been recognized as a tool by the means of which sensations can resonate to our sense organs. This is especially the case for Rudolf Arnheim’s theory of radio. Furthermore, we can say that, through media, it is our very experience that acquires a peculiar quality of resonance. In Arnheim’s account, the aesthetic experience bound to the listening of radio dramas can be shaped and driven according to new aesthetic values, because of representing the imaginary space of action only by means of the resonances artfully created by skilled radio drama writers and directors, and eventually perceived by the audience. This broader sense of resonance attributed to media can be found also in Lyotard’s reconsideration of the Kantian sublime as a way for theorizing modern art. In the la...
The article offers a first survey on the studies concerning imagination in an aesthetic and cogni... more The article offers a first survey on the studies concerning imagination in an aesthetic and cognitive perspective in Italy in the last two decades. From the aesthetic point of view, the research is focused in particular on reconsidering the imaginative function of organizing the sensible matter of perception, thus making it available to the subject’s experience – it is the process Kant called “schematism”. The recent aesthetic studies in Italy make new forms of schematism emerge, from the “free schematism” (Garroni), inspired by Kant’s aesthetic judgment, to the “interactive schematism” (Montani), which accounts for the interactions both the environ and the new technologies, up to the overlapping between schematism and “attention styles” of the mind (Desideri). Though influenced by the Kantian heritage, the Italian philosophy was able to confront with various traditions, from the English-speaking philosophy, especially that inspired by Wittgenstein (Borutti), to the German and Frenc...
The paper reconsiders the possibility of understanding the art of avant-garde in the light of the... more The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.The paper reconsiders t...
A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'e... more A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'evoluzione dell'estetica fotografica
In the present paper I propose to consider art as a specific form of documentality, much differen... more In the present paper I propose to consider art as a specific form of documentality, much different from ordinary documentality, usually made of objects like cards, tickets, maps and so on. Before considering documentality, we need to reconsider our theory of human communication. Following Searle's theory of social reality, art communication can be based on social ontology, which depends, in turn, on collective or intersubjective intentionality. I will not argue that art founds that intersubjective intentionality. I will attempt to show that some artworks, for instance pottery or architecture when they become archaeological documents, are able to show some characteristic features of documentality as an <em>activity</em>.
The paper analyses a movie recently appeared in Italy, Belluscone (2014) by Franco Maresco. The t... more The paper analyses a movie recently appeared in Italy, Belluscone (2014) by Franco Maresco. The title refers to the deformation of Berlusconi's name in Sicily. The movie does not speak, however, of the typically Italian "hero" Berlusconi, but of "Belluscone" that is the link for a common feeling whose Sicily is an exemplary case. Through the reference to Lyotard and Jauss among the others, the aim is to show that "Belluscone" is no longer a symbolic disposition, and becomes a sensible surface of contact to which everybody connects in order to have an experience. With its Baroque and ambiguous investigation of "bellusconian" Palermo, the movie makes no exception.
L'articolo ricostruire l'estetica e la filosofia dell'evento sottesa all'uso poli... more L'articolo ricostruire l'estetica e la filosofia dell'evento sottesa all'uso politico dell'immagine dopo l'attentato dell'11 settembre, nel cinema e nei media
Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent... more Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent past, artistic or video experimentation are not predominant aspects of aesthetic experience. Our enquiry is stimulated today by the investigation on the nature and functioning of media and interfaces and aims to clarify how our habits and experiences are changing. The essays gathered here put these questions into context and try to define the state of the art. In order to do so, they point out to a pivotal issue: that by speaking of “aesthetics” we refer more and more frequently to a theory of perception and sensitivity – and only occasionally to a theory of art. When we deal with creativity within this context, we refer to phenomena that can be only loosely referred to the domain of the arts, while they are relevant for the field of technique. We need to ask: Is aesthetics today a “technoaesthetics”, which concerns our forms of life rather than our taste for beauty
Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una form... more Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una forma esemplare di intermedialità. Per intermedialità non si intende solo l'accostamento di diversi formati mediali nel medesimo processo comunicativo (multimedia) o nella medesima opera d'arte (transmedialità); si intende invece la capacità di far dialogare diversi formati mediali allo scopo di arricchire l'esperienza del fruitore di nuove modalità di ricezione (sensibilità) e di nuovi strumenti di interpretazione (comprensione).
Lebenswelt: Aesthetics and Philosophy of Experience, 2018
The paper is concerned with arguing the existence of a relationship between the enactive theory o... more The paper is concerned with arguing the existence of a relationship between the enactive theory of perception and aesthetics. One of the leading figures in the theory of enactment, Alva Noe, pointed out that the works of art constitute one of the keys to understand how perception and cognition realize their enactment onto reality. Art objects are, in fact, a very peculiar case of artefacts since they are considered as being able to quicken the living beings’ organization in their interaction to the world. Do they create a different atmosphere? Do they “furnish” the surrounding habitat with new meanings? The paper argues that these are, of course, fundamental elements in the art’s action onto reality. As far as the subjective enactment of perception is concerned, together with power in designing life organization, art has arguably another original functions, that of building new “environs” where experience can meet reality under a different light and thus prepare the field for other ...
L’article traite d’une adaptation filmique pour la television francaise de Bouvard et Pecuchet, r... more L’article traite d’une adaptation filmique pour la television francaise de Bouvard et Pecuchet, realisee par Jean-Daniel Verhaeghe en 1989 d’apres le scenario de Jean-Claude Carriere et avec la musique de Michel Portal. La musique de Portal constitue l’objet majeur de cet article. La methode utilisee pour analyser le role joue par la bande sonore et musicale dans la construction du montage de cette adaptation releve de l’esthetique. L’article montre, en particulier, comment, dans le cas examine, l’œuvre de Portal ne correspond pas a la conception « harmonique » de l’entrelacs entre image et son, theorise et pratique par Eisenstein dans ses ouvrages theoriques ainsi que dans ses films. Au contraire, Portal travaille a une dimension sonore qui fait ressentir au spectateur l’incommensurabilite entre l’ideal d’un savoir total qui traverse les entreprises des personnages flaubertiens et leur « betise » dans l’effort de realiser cet ideal. Il s’agit par consequent d’un montage qui releve ...
Resonance is relevant to an aesthetic theory of media. In fact, since aesthetics has begun being ... more Resonance is relevant to an aesthetic theory of media. In fact, since aesthetics has begun being committed to the understanding of the nature and functioning of media, also outside their usage in art, the medium has been recognized as a tool by the means of which sensations can resonate to our sense organs. This is especially the case for Rudolf Arnheim’s theory of radio. Furthermore, we can say that, through media, it is our very experience that acquires a peculiar quality of resonance. In Arnheim’s account, the aesthetic experience bound to the listening of radio dramas can be shaped and driven according to new aesthetic values, because of representing the imaginary space of action only by means of the resonances artfully created by skilled radio drama writers and directors, and eventually perceived by the audience. This broader sense of resonance attributed to media can be found also in Lyotard’s reconsideration of the Kantian sublime as a way for theorizing modern art. In the la...
Che cosa significa abitare? Il presente volume di Sensibilia ambisce a costituire un primo import... more Che cosa significa abitare? Il presente volume di Sensibilia ambisce a costituire un primo importante passo verso la definizione di un concetto largo e non ingenuo di abitare.
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