Pub Date : 2018-07-15DOI: 10.13130/2240-9599/10368
Dario Cecchi
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 creative contributions, both cultural and technological.
{"title":"Percezione enattiva e operare artistico. Osservazioni a partire da Alva Noë","authors":"Dario Cecchi","doi":"10.13130/2240-9599/10368","DOIUrl":"https://doi.org/10.13130/2240-9599/10368","url":null,"abstract":"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 creative contributions, both cultural and technological.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44519396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-15DOI: 10.13130/2240-9599/10374
Gianluca Pulsoni
{"title":"J. Mansoor, Marshall plan Modernism: Italian postwar abstraction and the beginnings of autonomia","authors":"Gianluca Pulsoni","doi":"10.13130/2240-9599/10374","DOIUrl":"https://doi.org/10.13130/2240-9599/10374","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45639883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-15DOI: 10.13130/2240-9599/10365
S. Oliva
The aim of this paper is to propose a comparison between the mystical feeling, as it is defined by Ludwig Wittgenstein in the Tractatus logico-philosophicus , and the psycho-pathological state of melancholy, posed in relation with mourning by Sigmund Freud. The comparison will depart from the radical dissatisfaction that seems to be a distinctive characteristic of both phenomena. According to Wittgenstein in fact the drive to mystical feeling rises from the deep dissatisfaction regarding the explanations given by science, which is incapable of producing any answer to the «problem of life». In a similar way, Slavoj Žižek underlines that melancholy is a form of «disappointment at all positive, observable objects, none of which can satisfy our desire». In this perspective, I will check the similarities and differences between mystical feeling and melancholy and I will put in relation the double profile of this latter (manic depression) with the Wittgensteinian theme of aspect seeing («seeing-as»).
{"title":"Sentimento mistico e melanconia: due casi di visione aspettuale","authors":"S. Oliva","doi":"10.13130/2240-9599/10365","DOIUrl":"https://doi.org/10.13130/2240-9599/10365","url":null,"abstract":"The aim of this paper is to propose a comparison between the mystical feeling, as it is defined by Ludwig Wittgenstein in the Tractatus logico-philosophicus , and the psycho-pathological state of melancholy, posed in relation with mourning by Sigmund Freud. The comparison will depart from the radical dissatisfaction that seems to be a distinctive characteristic of both phenomena. According to Wittgenstein in fact the drive to mystical feeling rises from the deep dissatisfaction regarding the explanations given by science, which is incapable of producing any answer to the «problem of life». In a similar way, Slavoj Žižek underlines that melancholy is a form of «disappointment at all positive, observable objects, none of which can satisfy our desire». In this perspective, I will check the similarities and differences between mystical feeling and melancholy and I will put in relation the double profile of this latter (manic depression) with the Wittgensteinian theme of aspect seeing («seeing-as»).","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46572892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-15DOI: 10.13130/2240-9599/10364
L. Giombini
Over the past few decades debates in the field of conservation have called into question the suppositions underpinning contemporary restoration theory and practice. Restorers seem to base their choices on implicit ideas about the authenticity, identity and value of works of art, ideas that need to undergo a more systematic theoretical evaluation. I begin by focusing on the question of whether authenticity is fully established in the process of the creation of an artwork: namely, at its initial point of existence. One’s interpretation of what makes an artwork authentic will indeed greatly influence how to go about preserving or restoring it. If the answer to the question is affirmative (1), one commits to the idea that authenticity is determined by the work’s creator; thus, it is considered a given, exempt from historical flux. If the answer is negative (2), one takes authenticity to be a combination of initial creation and temporal change; in this sense the work is considered a ‘historical being’. These two conceptions, in turn, come from opposite ontological perspectives on the identity of artworks. Neither of them, however, proves to be truly convincing. I argue that from the point of view of conservation theory we need to consider artworks neither like physical objects nor like living beings, but rather like social objects in Searle’s sense. To this extent, safeguarding authenticity in conservation goes hand in hand with preserving a work’s continuity through enhancing what I call its structural and aesthetic readability. Restoration is thus in its essence a critical act of interpretation which has more to do with the various meanings of an artwork than with its hypothetical original conditions. Rather than just being a win-or-lose affair, authenticity turns out to be the result of a complex set of mutually interacting variables.
{"title":"But is this really authentic? Revising authenticity in restoration philosophy","authors":"L. Giombini","doi":"10.13130/2240-9599/10364","DOIUrl":"https://doi.org/10.13130/2240-9599/10364","url":null,"abstract":"Over the past few decades debates in the field of conservation have called into question the suppositions underpinning contemporary restoration theory and practice. Restorers seem to base their choices on implicit ideas about the authenticity, identity and value of works of art, ideas that need to undergo a more systematic theoretical evaluation. I begin by focusing on the question of whether authenticity is fully established in the process of the creation of an artwork: namely, at its initial point of existence. One’s interpretation of what makes an artwork authentic will indeed greatly influence how to go about preserving or restoring it. If the answer to the question is affirmative (1), one commits to the idea that authenticity is determined by the work’s creator; thus, it is considered a given, exempt from historical flux. If the answer is negative (2), one takes authenticity to be a combination of initial creation and temporal change; in this sense the work is considered a ‘historical being’. These two conceptions, in turn, come from opposite ontological perspectives on the identity of artworks. Neither of them, however, proves to be truly convincing. I argue that from the point of view of conservation theory we need to consider artworks neither like physical objects nor like living beings, but rather like social objects in Searle’s sense. To this extent, safeguarding authenticity in conservation goes hand in hand with preserving a work’s continuity through enhancing what I call its structural and aesthetic readability. Restoration is thus in its essence a critical act of interpretation which has more to do with the various meanings of an artwork than with its hypothetical original conditions. Rather than just being a win-or-lose affair, authenticity turns out to be the result of a complex set of mutually interacting variables.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"12 1","pages":"21-35"},"PeriodicalIF":0.0,"publicationDate":"2018-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46286580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-15DOI: 10.13130/2240-9599/10371
F. Zotti
The article focuses on the idea of participation in contemporary art practice, analyzed through Carsten Holler’s artistic production. Starting from Guy Debord’s essay La societe du spectacle , the public is no longer seen as an alienated mass of spectators, but it begins to participate by taking part in the activation of artworks, as pointed out in Nicolas Bourriad’s Esthetique Relationnelle . Like a scientist, Holler examines the viewer as if it was a lab rat, similar to the ones of Mauserplatz black and Mauserplatz white. The observation of the interaction between the public and Holler’s works shows that it is not only the idea of fruition to be redefined, but the whole concept of aesthetic experience.
{"title":"Da spettatore a cavia. Nuove forme di fruizione nell’opera di Carsten Höller","authors":"F. Zotti","doi":"10.13130/2240-9599/10371","DOIUrl":"https://doi.org/10.13130/2240-9599/10371","url":null,"abstract":"The article focuses on the idea of participation in contemporary art practice, analyzed through Carsten Holler’s artistic production. Starting from Guy Debord’s essay La societe du spectacle , the public is no longer seen as an alienated mass of spectators, but it begins to participate by taking part in the activation of artworks, as pointed out in Nicolas Bourriad’s Esthetique Relationnelle . Like a scientist, Holler examines the viewer as if it was a lab rat, similar to the ones of Mauserplatz black and Mauserplatz white. The observation of the interaction between the public and Holler’s works shows that it is not only the idea of fruition to be redefined, but the whole concept of aesthetic experience.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46331627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-15DOI: 10.13130/2240-9599/10369
S. Chiodo
The article: 1. analyzes the Anglo-American philosophical works which, in the last thirty years, focus on the notion of beauty by making reference to Kant’s work (in particular, Beauty restored by Mary Mothersill, Only a promise of happiness: the place of beauty in a world of art by Alexander Nehamas and Beauty by Roger Scruton); 2. argues that choosing Kant’s work means choosing a strategy which opens to a notion of beauty which is relative, but not relativistic, subjective, but not anarchic, that is, universal, but not absolute; 3. argues that the most powerful tool Kant introduces to make it possible relativizing the way (i.e., the form of beauty in a given space and in a given time) not to relativize the aim (i.e., the meaning of beauty, which is actually quite stable in the history of Western culture) may be his notion of ideal (which is almost ignored in the contemporary Anglo-American philosophical works), since it includes, and does not exclude, the most relative, particular and variable cases in its very genesis.
{"title":"Relativizzare la via per non relativizzare la meta? La bellezza a partire dal dibattito filosofico angloamericano contemporaneo","authors":"S. Chiodo","doi":"10.13130/2240-9599/10369","DOIUrl":"https://doi.org/10.13130/2240-9599/10369","url":null,"abstract":"The article: 1. analyzes the Anglo-American philosophical works which, in the last thirty years, focus on the notion of beauty by making reference to Kant’s work (in particular, Beauty restored by Mary Mothersill, Only a promise of happiness: the place of beauty in a world of art by Alexander Nehamas and Beauty by Roger Scruton); 2. argues that choosing Kant’s work means choosing a strategy which opens to a notion of beauty which is relative, but not relativistic, subjective, but not anarchic, that is, universal, but not absolute; 3. argues that the most powerful tool Kant introduces to make it possible relativizing the way (i.e., the form of beauty in a given space and in a given time) not to relativize the aim (i.e., the meaning of beauty, which is actually quite stable in the history of Western culture) may be his notion of ideal (which is almost ignored in the contemporary Anglo-American philosophical works), since it includes, and does not exclude, the most relative, particular and variable cases in its very genesis.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49317075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between 1942 and 1943 the editor of the journal «Domus» invited the most important Italian architects to design their ideal houses: fifteen projects designed by seventeen architects were published. They are most instructive to try to understand, firstly, what the philosophical notion of ideal means and, secondly, why mathematical and geometric tools are extensively used to work on ideality, namely, to design ideal houses. The first part of the article focuses on the philosophical foundations of ideality and, after an overview of the fifteen projects, on the use of the golden ratio in two particularly meaningful cases. The second part of the article focuses on the cases in which there is a hidden use of the golden ratio, on the use of the modulus and on the use of the number 2.
{"title":"Mathematics and geometry towards ideality in «Domus»’s ideal houses","authors":"S. Chiodo","doi":"10.13130/2240-9599/9459","DOIUrl":"https://doi.org/10.13130/2240-9599/9459","url":null,"abstract":"Between 1942 and 1943 the editor of the journal «Domus» invited the most important Italian architects to design their ideal houses: fifteen projects designed by seventeen architects were published. They are most instructive to try to understand, firstly, what the philosophical notion of ideal means and, secondly, why mathematical and geometric tools are extensively used to work on ideality, namely, to design ideal houses. The first part of the article focuses on the philosophical foundations of ideality and, after an overview of the fifteen projects, on the use of the golden ratio in two particularly meaningful cases. The second part of the article focuses on the cases in which there is a hidden use of the golden ratio, on the use of the modulus and on the use of the number 2.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"11 1","pages":"90-124"},"PeriodicalIF":0.0,"publicationDate":"2018-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41817768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Normally when one is considering the golden ratio in the history of ideas, one is often looking at it as an aesthetic principle – usually associated with Greek art, sculpture and mathematics. However, in recent years the prevalence of the golden ratio within a broad range of scientific disciplines has brought its role in the perfection of science to the forefront. I would like to collapse these two areas by proposing a somewhat novel way of looking at the aesthetics of the golden ratio: its pervasive expression in scientific form and function is the basis of the aesthetics in the world. Therefore, science contains the same mathematical beauty as found in artistic expression. The golden ratio guides the Chaos Border of Kolmogorov, Arnold, and Moser (KAM theorem) and it can be found hidden in all elementary particles, and even in the proportions of dark matter and energy relative to visible matter and energy. It is evident in the structure and growth functions of plants and animals and it can be found in the physiological functions of humans. It now appears that without the golden ratio, we would not have the form or function of the proton, cell, athlete, horse, species, planet, solar system or galaxy.
{"title":"Golden ratio beauty as scientific function","authors":"S. Olsen","doi":"10.13130/2240-9599/9457","DOIUrl":"https://doi.org/10.13130/2240-9599/9457","url":null,"abstract":"Normally when one is considering the golden ratio in the history of ideas, one is often looking at it as an aesthetic principle – usually associated with Greek art, sculpture and mathematics. However, in recent years the prevalence of the golden ratio within a broad range of scientific disciplines has brought its role in the perfection of science to the forefront. I would like to collapse these two areas by proposing a somewhat novel way of looking at the aesthetics of the golden ratio: its pervasive expression in scientific form and function is the basis of the aesthetics in the world. Therefore, science contains the same mathematical beauty as found in artistic expression. The golden ratio guides the Chaos Border of Kolmogorov, Arnold, and Moser (KAM theorem) and it can be found hidden in all elementary particles, and even in the proportions of dark matter and energy relative to visible matter and energy. It is evident in the structure and growth functions of plants and animals and it can be found in the physiological functions of humans. It now appears that without the golden ratio, we would not have the form or function of the proton, cell, athlete, horse, species, planet, solar system or galaxy.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-01DOI: 10.13130/2240-9599/11106
I. Poggi, Alessandro Ansani, Christian Cecconi
The work defines the sigh as a type of breath expressing or communicating specific physical or mental internal states. To investigate the meanings of the sigh, the paper presents analyses of written and oral corpora, finding out that it may express different emotions like boredom or frustration, but also positive meanings like self-encouragement; then it focuses on the use of sighs in political debates. Finally a perception study shows participants’ agreement on the meanings of sighs in terms of valence and arousal. These results lay the bases for future studies to set a clearer distinction between sighs and other vocalisations as well as other effects on its meaning caused by the combination with other body signals like rolling eyes or shaking head.
{"title":"The meanings of the sigh. Vocal Expression along the route of our desires.","authors":"I. Poggi, Alessandro Ansani, Christian Cecconi","doi":"10.13130/2240-9599/11106","DOIUrl":"https://doi.org/10.13130/2240-9599/11106","url":null,"abstract":"The work defines the sigh as a type of breath expressing or communicating specific physical or mental internal states. To investigate the meanings of the sigh, the paper presents analyses of written and oral corpora, finding out that it may express different emotions like boredom or frustration, but also positive meanings like self-encouragement; then it focuses on the use of sighs in political debates. Finally a perception study shows participants’ agreement on the meanings of sighs in terms of valence and arousal. These results lay the bases for future studies to set a clearer distinction between sighs and other vocalisations as well as other effects on its meaning caused by the combination with other body signals like rolling eyes or shaking head.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"13 1","pages":"27-42"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-01DOI: 10.13130/2240-9599/11117
F. Cimatti
The Marcel Duchamp absolute gesture is such a gesture that inaugurates an escape movement from any Symbolic Order (another name of this movement is the Deleuzian «becoming-animal»); a gesture that, obviously, Duchamp does not stop play out, because each time he enacts it, this is a new gesture; there is no rule for the absolute gesture. In fact, if it existed it would not be absolute. Duchamp is such an ‘artist’ who is without work, then, because what matters is not art, but the making of one's existence something unique. The absolute gesture consists in the making of art a form of life.
{"title":"Il gesto assoluto. Duchamp, l’opera d’arte e il linguaggio","authors":"F. Cimatti","doi":"10.13130/2240-9599/11117","DOIUrl":"https://doi.org/10.13130/2240-9599/11117","url":null,"abstract":"The Marcel Duchamp absolute gesture is such a gesture that inaugurates an escape movement from any Symbolic Order (another name of this movement is the Deleuzian «becoming-animal»); a gesture that, obviously, Duchamp does not stop play out, because each time he enacts it, this is a new gesture; there is no rule for the absolute gesture. In fact, if it existed it would not be absolute. Duchamp is such an ‘artist’ who is without work, then, because what matters is not art, but the making of one's existence something unique. The absolute gesture consists in the making of art a form of life.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66224963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：