The paper proposes a new understanding of the relationship that links philosophy and literature, assuming the Greek tragedy of the 5th century BC as the exemplary occasion for the development of this enquiry. In this perspective, moving from the original interpretation of the tragedy recently offered by Pierre Judet de La Combe, the paper shows how the specific cognitive function of the tragedy, understood as “artistic form”, consists in its ability to bring to manifestation, in exemplary way, the “conditions of sense” that make possible any knowledge of experience, with the consciousness of the aesthetical-imaginative and not logical-conceptual character of these same conditions. From this point of view, the critical and reflexive function of the tragedy is due – according to the Adornian interpretation – to the autonomy of the “form”, i.e. to the sensible configuration of the tragedy. What emerges, here, is the “non-reproductive” but “productive” nature of the tragic form: what it offers to the spectator is not the representation of a sense already given in the world, but rather an “indefinite opening to meaning”, i.e. a form able to construct an indeterminate multiplicity of “possibilities of sense”.
{"title":"Tragedia attica e filosofia. Osservazioni sulla funzione cognitiva dell’arte tragica","authors":"A. Valentini","doi":"10.4000/ESTETICA.6823","DOIUrl":"https://doi.org/10.4000/ESTETICA.6823","url":null,"abstract":"The paper proposes a new understanding of the relationship that links philosophy and literature, assuming the Greek tragedy of the 5th century BC as the exemplary occasion for the development of this enquiry. In this perspective, moving from the original interpretation of the tragedy recently offered by Pierre Judet de La Combe, the paper shows how the specific cognitive function of the tragedy, understood as “artistic form”, consists in its ability to bring to manifestation, in exemplary way, the “conditions of sense” that make possible any knowledge of experience, with the consciousness of the aesthetical-imaginative and not logical-conceptual character of these same conditions. From this point of view, the critical and reflexive function of the tragedy is due – according to the Adornian interpretation – to the autonomy of the “form”, i.e. to the sensible configuration of the tragedy. What emerges, here, is the “non-reproductive” but “productive” nature of the tragic form: what it offers to the spectator is not the representation of a sense already given in the world, but rather an “indefinite opening to meaning”, i.e. a form able to construct an indeterminate multiplicity of “possibilities of sense”.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"73 1","pages":"136-151"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41412698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will be characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding.
{"title":"Rhythm ’n’ Dewey: an adverbialist ontology of art","authors":"Carlos Vara Sánchez","doi":"10.4000/ESTETICA.6755","DOIUrl":"https://doi.org/10.4000/ESTETICA.6755","url":null,"abstract":"The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will be characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48998223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I aim at explaining the sense in which the notion of improvisation is important for the ontology of art. In the first part, I criticize the widespread assumption of the repeatability of a musical work without transformation of its identity and defend Conversational Improvisational Emergentism (CIE) as the specific contribution of improvisation to musical ontology: in an improvisation, values and meanings of what has been played constrain what follows and are themselves retroactively (trans)formed by what follows; likewise, the performing interpretations of musical works and traditions reinvent their meanings and evaluation criteria, responding to past interpretations and opening up (as well as binding) possibilities for future interpretations. In the second part, I extend the scope of my investigation to art more generally. By critiquing the principle of «no evaluation without identification» and referring to Peter Lamarque’s and Joseph Margolis’ views about art ontology, I propose a transformative theory of artworks, which is based on the thesis of the improvisational “nature” of artistic practices (a thesis that I conceive of as a particular form of CIE). Its core point is that evaluative and performative interpretations of artworks (re)shape creatively, and retroactively, the meanings and the flexible identities of artworks. Accordingly, the artworks’ meanings and identities emerge (and are (trans)formed) through the cultural improvisational interactions in which artworks participate.
{"title":"Improvisation and ontology of art","authors":"A. Bertinetto","doi":"10.4000/ESTETICA.6686","DOIUrl":"https://doi.org/10.4000/ESTETICA.6686","url":null,"abstract":"I aim at explaining the sense in which the notion of improvisation is important for the ontology of art. In the first part, I criticize the widespread assumption of the repeatability of a musical work without transformation of its identity and defend Conversational Improvisational Emergentism (CIE) as the specific contribution of improvisation to musical ontology: in an improvisation, values and meanings of what has been played constrain what follows and are themselves retroactively (trans)formed by what follows; likewise, the performing interpretations of musical works and traditions reinvent their meanings and evaluation criteria, responding to past interpretations and opening up (as well as binding) possibilities for future interpretations. In the second part, I extend the scope of my investigation to art more generally. By critiquing the principle of «no evaluation without identification» and referring to Peter Lamarque’s and Joseph Margolis’ views about art ontology, I propose a transformative theory of artworks, which is based on the thesis of the improvisational “nature” of artistic practices (a thesis that I conceive of as a particular form of CIE). Its core point is that evaluative and performative interpretations of artworks (re)shape creatively, and retroactively, the meanings and the flexible identities of artworks. Accordingly, the artworks’ meanings and identities emerge (and are (trans)formed) through the cultural improvisational interactions in which artworks participate.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"73 1","pages":"10-29"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43282729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Western cultural archetype of Narcissus experiences a significant turning point in the 1400s, thanks to Leon Battista Alberti’s work. Indeed, the myth evolves from being a subject embodying a taboo in the Antiquity to become the glance that generates the image; in so doing this myth assumes the rank of science and philosophy. Alberti does not follow Pliny’s reading of Ovid’s Metamorphosis, but handles Philostratus’s version; with his visual description he represents in the “Eikones” the darting glance towards the water. The rendering of this image anticipates the notion of centric ray, on which Alberti establishes his perspective’s theory based on the diaphanous nature of “velum”. The art of painting is compared to an “open vitreous and translucent window”. Narcissus does not see the water, so to say, but the image, as well as the painting’s observer instantly grasps the iconic value of it, rather than the material support. Because of this immediacy, the art of painting becomes the terrain of revelation: it makes clear the emerging progressive visibility of “something”, thus concurring with philosophy; better, the art of painting overtakes philosophy with the simple representation of polysemous complexities. This is the new art of painting, in which “there is nothing that is not philosophy”. Furthermore, in this synthetic role of representation in which the icon becomes all one with the spectator – in addition to the centric ray and to the orthogonality of the vision, topics already analyzed by the author in previous studies – consists an outstanding resemblance between Alberti and Cusanus. The two philosophers show their synergy in exploring a new anthropology. From this point of view can be read Alberti’s explanation, often misinterpreted, of Narcissus’ transformation into a flower: a synthesis between “imaginatio” and “executio”, or inactiveness versus activeness. Among all Narcissus’ portrayals of that time, it would be useful to consider the Pseudo Boltraffio’s version of London; this rendering applies thematically Alberti’s theory in its essential aspects, introducing it within Leonardo Da Vinci’s circle of artists.
{"title":"Narciso nel Quattrocento: percezione, conoscenza, arte","authors":"E. Filippi","doi":"10.4000/ESTETICA.6786","DOIUrl":"https://doi.org/10.4000/ESTETICA.6786","url":null,"abstract":"The Western cultural archetype of Narcissus experiences a significant turning point in the 1400s, thanks to Leon Battista Alberti’s work. Indeed, the myth evolves from being a subject embodying a taboo in the Antiquity to become the glance that generates the image; in so doing this myth assumes the rank of science and philosophy. Alberti does not follow Pliny’s reading of Ovid’s Metamorphosis, but handles Philostratus’s version; with his visual description he represents in the “Eikones” the darting glance towards the water. The rendering of this image anticipates the notion of centric ray, on which Alberti establishes his perspective’s theory based on the diaphanous nature of “velum”. The art of painting is compared to an “open vitreous and translucent window”. Narcissus does not see the water, so to say, but the image, as well as the painting’s observer instantly grasps the iconic value of it, rather than the material support. Because of this immediacy, the art of painting becomes the terrain of revelation: it makes clear the emerging progressive visibility of “something”, thus concurring with philosophy; better, the art of painting overtakes philosophy with the simple representation of polysemous complexities. This is the new art of painting, in which “there is nothing that is not philosophy”. Furthermore, in this synthetic role of representation in which the icon becomes all one with the spectator – in addition to the centric ray and to the orthogonality of the vision, topics already analyzed by the author in previous studies – consists an outstanding resemblance between Alberti and Cusanus. The two philosophers show their synergy in exploring a new anthropology. From this point of view can be read Alberti’s explanation, often misinterpreted, of Narcissus’ transformation into a flower: a synthesis between “imaginatio” and “executio”, or inactiveness versus activeness. Among all Narcissus’ portrayals of that time, it would be useful to consider the Pseudo Boltraffio’s version of London; this rendering applies thematically Alberti’s theory in its essential aspects, introducing it within Leonardo Da Vinci’s circle of artists.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"61 1","pages":"96-117"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42015934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, we aim to show how flavors – specifically food flavors – and the atmospheres they help create have a strong sociopolitical value. Smells are here dealt with as vector elements inscribed in the collective space; they, on the one hand, affect the way in which refusal or acceptance occur and, on the other, mold perceptual and fruition model. By «aromatic aesthetics», we refer to the dimension in which smells are related to peculiar atmospheric policies. Stemming from this framework, we present the notions of sterilization, deodorization, and flavoring anew in the light of bodily, sensory and cognitive effects on the individual and on the relations with the surrounding world, particularly with food. The concoction of synthetic flavor mixtures and its subsequent perception cause atmospheric manipulations able to affect both collectively and individually the sense of smell. In contrast to this aggressive and standardizing practice, we try to outline an alternative approach based on the idea of engagement aiming to contribute to a complete ecological aesthetics.
{"title":"Estetica aromatica","authors":"Elena Mancioppi, N. Perullo","doi":"10.4000/ESTETICA.6813","DOIUrl":"https://doi.org/10.4000/ESTETICA.6813","url":null,"abstract":"In this paper, we aim to show how flavors – specifically food flavors – and the atmospheres they help create have a strong sociopolitical value. Smells are here dealt with as vector elements inscribed in the collective space; they, on the one hand, affect the way in which refusal or acceptance occur and, on the other, mold perceptual and fruition model. By «aromatic aesthetics», we refer to the dimension in which smells are related to peculiar atmospheric policies. Stemming from this framework, we present the notions of sterilization, deodorization, and flavoring anew in the light of bodily, sensory and cognitive effects on the individual and on the relations with the surrounding world, particularly with food. The concoction of synthetic flavor mixtures and its subsequent perception cause atmospheric manipulations able to affect both collectively and individually the sense of smell. In contrast to this aggressive and standardizing practice, we try to outline an alternative approach based on the idea of engagement aiming to contribute to a complete ecological aesthetics.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"118-135"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47331555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper I follow Ted Nannicelli in the project of establishing boundaries of television works. I focus on serialized television works pertaining to a particular genre and I set out to provide an account of their identity. My claim is that external identity of such works is determined by their specific genre-affiliation, given the way in which generic norms determine the content of the series, namely, its characteristic storylines and regular set of characters. From the internal perspective, a series’ identity is determined by the particular way in which it implements abstract generic norms. I describe the process of such implementation as creation of series-specific formulaic patterns, and I analyze different layers of works where such patterns are evident. My central claim is that series-specific formulaic patterns create a coherent set of norms which, through repeated instantiation in the series’ episodes, become associated with that particular series. The function of this set is to establish the series’ boundaries, and to maintain its identity when different modifications to the patterns are made.
{"title":"Tv series and their boundaries","authors":"I. Jovanović","doi":"10.4000/ESTETICA.6695","DOIUrl":"https://doi.org/10.4000/ESTETICA.6695","url":null,"abstract":"In this paper I follow Ted Nannicelli in the project of establishing boundaries of television works. I focus on serialized television works pertaining to a particular genre and I set out to provide an account of their identity. My claim is that external identity of such works is determined by their specific genre-affiliation, given the way in which generic norms determine the content of the series, namely, its characteristic storylines and regular set of characters. From the internal perspective, a series’ identity is determined by the particular way in which it implements abstract generic norms. I describe the process of such implementation as creation of series-specific formulaic patterns, and I analyze different layers of works where such patterns are evident. My central claim is that series-specific formulaic patterns create a coherent set of norms which, through repeated instantiation in the series’ episodes, become associated with that particular series. The function of this set is to establish the series’ boundaries, and to maintain its identity when different modifications to the patterns are made.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"73 1","pages":"30-46"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47983826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sono certo sarebbe stato piu prudente iniziare e concludere questa mia lectio prestando fede – e mettendo in pratica – quanto scrive Ludwig Wittgenstein nel 1932 in Pensieri diversi, quando dice: «In arte e difficile dire qualcosa che sia altrettanto buono del non dire niente». Ma tant’e: nelle cose del mondo, quando non si puo negare una certa vanita, ci si inerpica spesso per sentieri difficili e impervi. M’incammino quindi, con qualche titubanza, nel tentativo di indicare il mio modo di e...
{"title":"Et in academia ego","authors":"Ugo Nespolo","doi":"10.4000/estetica.6181","DOIUrl":"https://doi.org/10.4000/estetica.6181","url":null,"abstract":"Sono certo sarebbe stato piu prudente iniziare e concludere questa mia lectio prestando fede – e mettendo in pratica – quanto scrive Ludwig Wittgenstein nel 1932 in Pensieri diversi, quando dice: «In arte e difficile dire qualcosa che sia altrettanto buono del non dire niente». Ma tant’e: nelle cose del mondo, quando non si puo negare una certa vanita, ci si inerpica spesso per sentieri difficili e impervi. M’incammino quindi, con qualche titubanza, nel tentativo di indicare il mio modo di e...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"159-166"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47339361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jean-Pierre Abel-Remusat (1788-1832), the distinguished holder of the first chair of Chinese studies in France – as well as Europe – was a contemporary of the no less distinguished German philosopher Georg Wilhelm Friedrich Hegel (1770-1831). The advent of sinology, i.e. the new academic discipline represented by Abel-Remusat, is an interesting fact if placed in the context of the professionalization of philosophy so eminently embodied by Hegel. In this perspective, the relations between these two great minds are even more eloquent with respect to the place given to China in the intellectual geography of 19th century Europe.
{"title":"Abel-Rémusat e Hegel: sinologia e filosofia nell’Europa del XIX secolo","authors":"Anne Cheng","doi":"10.4000/estetica.6116","DOIUrl":"https://doi.org/10.4000/estetica.6116","url":null,"abstract":"Jean-Pierre Abel-Remusat (1788-1832), the distinguished holder of the first chair of Chinese studies in France – as well as Europe – was a contemporary of the no less distinguished German philosopher Georg Wilhelm Friedrich Hegel (1770-1831). The advent of sinology, i.e. the new academic discipline represented by Abel-Remusat, is an interesting fact if placed in the context of the professionalization of philosophy so eminently embodied by Hegel. In this perspective, the relations between these two great minds are even more eloquent with respect to the place given to China in the intellectual geography of 19th century Europe.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"139-151"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70154058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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