Pub Date : 2018-01-01DOI: 10.13130/2240-9599/11104
E. Marino
{"title":"Forum on Samir Gandesha - Johan Hartle (eds.), \"Aesthetic Marx\"","authors":"E. Marino","doi":"10.13130/2240-9599/11104","DOIUrl":"https://doi.org/10.13130/2240-9599/11104","url":null,"abstract":"","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":"66225382","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: 10.13130/2240-9599/11120
S. Oliva
The term ‘gesture’ is often used for an action capable of conveying a meaning and, in this sense, it is related to the question of the origin of language. In this paper I rather focus on a concept of ‘gesture’ intended as the «supplement of an act» (Barthes), produced by an historical and cultural process (Berio) and representative of a «pure mediality» (Agamben). Such a different notion of gesture should not to be confused with a form of expression considered as an end in itself. In this perspective, I will try to think the artistic gesture not as bearer of meaning but as what is ‘beared’, i.e., as the non-communicative rest of previous acts of communication.
{"title":"Nel grembo del linguaggio: per un’estetica del gesto supplementare","authors":"S. Oliva","doi":"10.13130/2240-9599/11120","DOIUrl":"https://doi.org/10.13130/2240-9599/11120","url":null,"abstract":"The term ‘gesture’ is often used for an action capable of conveying a meaning and, in this sense, it is related to the question of the origin of language. In this paper I rather focus on a concept of ‘gesture’ intended as the «supplement of an act» (Barthes), produced by an historical and cultural process (Berio) and representative of a «pure mediality» (Agamben). Such a different notion of gesture should not to be confused with a form of expression considered as an end in itself. In this perspective, I will try to think the artistic gesture not as bearer of meaning but as what is ‘beared’, i.e., as the non-communicative rest of previous acts of communication.","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":"66224983","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: 10.13130/2240-9599/11108
Nicola Di Stefano
The role of gesture in music has been widely investigated in different disciplines, from experimental psychology to aesthetics, from musicology to anthropology. What seems to drive the different researches is the question about the relationship arising between gestures and sound, and how this relationship affects the experience of music. In this article, I focus on the role of the hand in the production, listening and expression of music. After briefly referring to the influence of body development on language, I consider some typical responses to listening to music that involve the hand, suggesting that musical experience relies on the ability of the listener-performer to transform sound perceptions into motor units. In the conclusion, I delve deeper into the topic in a phenomenological direction, proposing that gestures can be configured as a bodily continuation of the musical material rather than mere motor reactions or conventional responses to sound perception.
{"title":"Gesto, suono e corpo. Sul ruolo della mano nell’espressione della musica","authors":"Nicola Di Stefano","doi":"10.13130/2240-9599/11108","DOIUrl":"https://doi.org/10.13130/2240-9599/11108","url":null,"abstract":"The role of gesture in music has been widely investigated in different disciplines, from experimental psychology to aesthetics, from musicology to anthropology. What seems to drive the different researches is the question about the relationship arising between gestures and sound, and how this relationship affects the experience of music. In this article, I focus on the role of the hand in the production, listening and expression of music. After briefly referring to the influence of body development on language, I consider some typical responses to listening to music that involve the hand, suggesting that musical experience relies on the ability of the listener-performer to transform sound perceptions into motor units. In the conclusion, I delve deeper into the topic in a phenomenological direction, proposing that gestures can be configured as a bodily continuation of the musical material rather than mere motor reactions or conventional responses to sound perception.","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":"66224951","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: 10.13130/2240-9599/11107
Ines Adornetti, Alessandra Chiera, F. Ferretti
In this paper, we show how the embodied revolution within cognitive sciences has relevant consequences for the topic of language origins. The empirical findings of the embodied approaches, indeed, allow to elaborate a motor theory of language origins according to which human language originated from the gestural communication of our ancestors. Theories that propose that human language emerged from gesture suggest that an important stage in the evolution of human communication was that of pantomime, i.e. a spontaneous bodily mode of expression in which meaning is conveyed through resemblance. Adhering to this idea, we suggest that pantomime can be considered a platform for the emergence of human communication as it is a primordial mode of expression to tell stories without language. Based on that, we maintain that the possibility to explain the advent of language with reference to pantomime represents a way to support a narrative model of language origins.
{"title":"Embodied cognition e origine del linguaggio: il ruolo cruciale del gesto","authors":"Ines Adornetti, Alessandra Chiera, F. Ferretti","doi":"10.13130/2240-9599/11107","DOIUrl":"https://doi.org/10.13130/2240-9599/11107","url":null,"abstract":"In this paper, we show how the embodied revolution within cognitive sciences has relevant consequences for the topic of language origins. The empirical findings of the embodied approaches, indeed, allow to elaborate a motor theory of language origins according to which human language originated from the gestural communication of our ancestors. Theories that propose that human language emerged from gesture suggest that an important stage in the evolution of human communication was that of pantomime, i.e. a spontaneous bodily mode of expression in which meaning is conveyed through resemblance. Adhering to this idea, we suggest that pantomime can be considered a platform for the emergence of human communication as it is a primordial mode of expression to tell stories without language. Based on that, we maintain that the possibility to explain the advent of language with reference to pantomime represents a way to support a narrative model of language origins.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"13 1","pages":"43-56"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66224944","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}
This paper investigates some of the main problems concerning the normativity of aesthetic judgments in Kant’s Critique of Judgment . Kant’s attempt to provide a transcendental foundation to aesthetic judgments clashes with the impossibility to find a determined conceptual rule under which they could be subsumed. This paper aims to discuss and clarify the set of problems derived from this attempt, focusing especially on the artistic perspective. In order to do that, it will be necessary to deal with the following notions: eautonomy, sensus communis aestheticus and genius. From this analysis it will emerge the importance of exemplarity as concept that allow us to highlight some implicit and usually neglected aspects of Kant’s aesthetic theory.
{"title":"Normatività e creazione: i giudizi di gusto in Kant","authors":"Gianluigi Dallarda","doi":"10.13130/2240-9599/8698","DOIUrl":"https://doi.org/10.13130/2240-9599/8698","url":null,"abstract":"This paper investigates some of the main problems concerning the normativity of aesthetic judgments in Kant’s Critique of Judgment . Kant’s attempt to provide a transcendental foundation to aesthetic judgments clashes with the impossibility to find a determined conceptual rule under which they could be subsumed. This paper aims to discuss and clarify the set of problems derived from this attempt, focusing especially on the artistic perspective. In order to do that, it will be necessary to deal with the following notions: eautonomy, sensus communis aestheticus and genius. From this analysis it will emerge the importance of exemplarity as concept that allow us to highlight some implicit and usually neglected aspects of Kant’s aesthetic theory.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44454143","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}
{"title":"G. Matteucci, S. Marino (eds.), Philosophical perspectives on fashion","authors":"S. Chiodo","doi":"10.13130/2240-9599/8704","DOIUrl":"https://doi.org/10.13130/2240-9599/8704","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225994","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}
{"title":"P. Bianchi, Jacques Lacan and cinema. Imaginary, gaze, formalisation","authors":"Giulio Forleo","doi":"10.13130/2240-9599/8705","DOIUrl":"https://doi.org/10.13130/2240-9599/8705","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45283646","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}
{"title":"C. Chauviré, Comprendre l’art. L’esthétique de Wittgenstein","authors":"Stefano Oliva","doi":"10.13130/2240-9599/8703","DOIUrl":"https://doi.org/10.13130/2240-9599/8703","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"11 1","pages":"84-87"},"PeriodicalIF":0.0,"publicationDate":"2017-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44194092","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}
Nowadays, atmospheres are a frequent topic in the philosophy of music. However, ‘music’ is frequently understood with a generical meaning. On the contrary, this paper aims to apply the theory of atmospheres in a defined musical genre: the Italian Opera. Opera is grounded on three expressive elements – music, libretto and stage. For this reason, it is reductive to talk only about the relationship between music and atmospheres. The studies about Opera has often treated separately its three expressive levels; the theory of atmospheres, as olistic approach, seems to offer a renewed integrity to the analysis of Opera – by rediscovering its performative character. In this perspective, the hic et nunc of a particular performance is an important element to analyze as the score as the libretto, by paying attention to the eventual conflict between the ‘potential atmospheres’ of the texts (score and libretto) and the ‘derivative atmospheres’ of the contemporary staging – especially of the ‘displaced’ and ‘radical’ ones.
如今，氛围是音乐哲学中经常出现的话题。然而，“音乐”通常被理解为具有一般意义。相反，本文旨在将氛围理论应用于一种特定的音乐流派：意大利歌剧。歌剧以三种表现元素为基础——音乐、唱词和舞台。因此，只谈论音乐和氛围之间的关系是一种简化。关于戏曲的研究，往往把它的三个表现层次分别对待；氛围理论作为一种美学方法，通过重新发现歌剧的表演特征，似乎为歌剧的分析提供了一种新的完整性。从这个角度来看，通过关注文本（乐谱和唱词）的“潜在氛围”与当代舞台的“衍生氛围”之间的最终冲突，特别是“移位”和“激进”的“衍生气氛”，特定表演的hic et nunc是一个重要的元素，可以作为乐谱和唱辞进行分析。
{"title":"\"Spasimi d'ira, spasimi d'amore\". Le atmosfere nell'opera lirica","authors":"Federica Scassillo","doi":"10.13130/2240-9599/8700","DOIUrl":"https://doi.org/10.13130/2240-9599/8700","url":null,"abstract":"Nowadays, atmospheres are a frequent topic in the philosophy of music. However, ‘music’ is frequently understood with a generical meaning. On the contrary, this paper aims to apply the theory of atmospheres in a defined musical genre: the Italian Opera. Opera is grounded on three expressive elements – music, libretto and stage. For this reason, it is reductive to talk only about the relationship between music and atmospheres. The studies about Opera has often treated separately its three expressive levels; the theory of atmospheres, as olistic approach, seems to offer a renewed integrity to the analysis of Opera – by rediscovering its performative character. In this perspective, the hic et nunc of a particular performance is an important element to analyze as the score as the libretto, by paying attention to the eventual conflict between the ‘potential atmospheres’ of the texts (score and libretto) and the ‘derivative atmospheres’ of the contemporary staging – especially of the ‘displaced’ and ‘radical’ ones.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"905 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41310052","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}
{"title":"A. Arbo, P.-E. Lephay (sous la direction de), Quand l’enregistrement change la musique","authors":"Stefano Oliva","doi":"10.13130/2240-9599/8706","DOIUrl":"https://doi.org/10.13130/2240-9599/8706","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45896013","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}
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