In seeking the truth, philosophers have long used fiction and counterfactual scenarios to raise and answer questions, to foster dialogue or give a commentary on some facet of life. In this paper I will present a few well-known thought experiments from contemporary Western philosophers and highlight some characteristic traits of such thought experiments. I will then discuss some of the fictitious anecdotes that appear in the Zhuangzi. In comparing the features of Western thought experiments to fables from Zhuangzi, we will see that although Zhuangzi’s stories would likely fail to be considered good philosophical thought experiments (according to the Western tradition), the very thing that makes them fail is arguably what allows the writings of Zhuangzi to continue to inspire philosophical reflection and dialogue.
{"title":"Anecdotes and thought experiments in Zhuangzi and Western philosophy","authors":"M. Link","doi":"10.4000/estetica.5889","DOIUrl":"https://doi.org/10.4000/estetica.5889","url":null,"abstract":"In seeking the truth, philosophers have long used fiction and counterfactual scenarios to raise and answer questions, to foster dialogue or give a commentary on some facet of life. In this paper I will present a few well-known thought experiments from contemporary Western philosophers and highlight some characteristic traits of such thought experiments. I will then discuss some of the fictitious anecdotes that appear in the Zhuangzi. In comparing the features of Western thought experiments to fables from Zhuangzi, we will see that although Zhuangzi’s stories would likely fail to be considered good philosophical thought experiments (according to the Western tradition), the very thing that makes them fail is arguably what allows the writings of Zhuangzi to continue to inspire philosophical reflection and dialogue.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"7-18"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43867139","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}
A comparative study of the thinkers of China is meant to stimulate philosophical dialogue and not to deliver the observations of the “Man from Mars − the Western reader”.1 There has been an ongoing debate regarding the validity of interpreting the classical texts of China in the framework of Western philosophical categories and applying classical precepts to contemporary philosophical discussions. While it has been acknowledged that there are differences in cultural traditions, there is also an increasing awareness of the need for sustained and systematic efforts toward formulating philosophical foundations which incorporate diverse intellectual perspectives. Specific topics discussed in the paper are: the parallels between Socrates as a gadfly and Confucius as a wooden bell; “confrontational hermeneutics” (a hermeneutics oriented toward having “a confrontation with a text or a tradition which pays careful attention to otherness of text or tradition”); convergent and divergent evolution of ideas; the parallels between the Book of Odes and Homeric epics; analogical reasoning from India, China, and Greece to Wittgenstein. Reflecting on the continuity of ideas between the philosophical thought of China and the West, we discover a vantage point from which the ideas can be approached with a fresh mind. In the philosophical legacy of China the familiar ideas and problems of Western philosophy are cast in a new light. Philosophical ideas, insofar as they are discoveries and inventions of the human mind, resonate across the ages and across geographical and cultural boundaries.
{"title":"Man from Mars – the Western Reader","authors":"H. Höchsmann","doi":"10.4000/estetica.6024","DOIUrl":"https://doi.org/10.4000/estetica.6024","url":null,"abstract":"A comparative study of the thinkers of China is meant to stimulate philosophical dialogue and not to deliver the observations of the “Man from Mars − the Western reader”.1 There has been an ongoing debate regarding the validity of interpreting the classical texts of China in the framework of Western philosophical categories and applying classical precepts to contemporary philosophical discussions. While it has been acknowledged that there are differences in cultural traditions, there is also an increasing awareness of the need for sustained and systematic efforts toward formulating philosophical foundations which incorporate diverse intellectual perspectives. Specific topics discussed in the paper are: the parallels between Socrates as a gadfly and Confucius as a wooden bell; “confrontational hermeneutics” (a hermeneutics oriented toward having “a confrontation with a text or a tradition which pays careful attention to otherness of text or tradition”); convergent and divergent evolution of ideas; the parallels between the Book of Odes and Homeric epics; analogical reasoning from India, China, and Greece to Wittgenstein. \u0000Reflecting on the continuity of ideas between the philosophical thought of China and the West, we discover a vantage point from which the ideas can be approached with a fresh mind. In the philosophical legacy of China the familiar ideas and problems of Western philosophy are cast in a new light. Philosophical ideas, insofar as they are discoveries and inventions of the human mind, resonate across the ages and across geographical and cultural boundaries.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"81-98"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47546254","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}
Under the influence of the linguistic turn in philosophy, contemporary Western philosophers typically limit their thinking on pluralism to the realm of language. This sort of pluralism can be named as pluralism of significance. I propose another version of pluralism in light of Confucianism, which extends the concerns from the realm of language to the realm of experience – I call it pluralism of presence. In this article, I first expound the aforementioned two versions of pluralism on the basis of Hans-Georg Moeller’s semiotic trichotomy. I then argue that the conflict between multiculturalism and cultural identity in today’s globalized world and the failure of pluralism of significance in resolving this conflict can be overcome by pluralism of presence. Finally, I show a possibility of reconciliation between pluralism of significance and pluralism of presence.
{"title":"Significance or presence: re-conceptualizing Pluralism from a confucian perspective","authors":"P. Feng","doi":"10.4000/estetica.5911","DOIUrl":"https://doi.org/10.4000/estetica.5911","url":null,"abstract":"Under the influence of the linguistic turn in philosophy, contemporary Western philosophers typically limit their thinking on pluralism to the realm of language. This sort of pluralism can be named as pluralism of significance. I propose another version of pluralism in light of Confucianism, which extends the concerns from the realm of language to the realm of experience – I call it pluralism of presence. In this article, I first expound the aforementioned two versions of pluralism on the basis of Hans-Georg Moeller’s semiotic trichotomy. I then argue that the conflict between multiculturalism and cultural identity in today’s globalized world and the failure of pluralism of significance in resolving this conflict can be overcome by pluralism of presence. Finally, I show a possibility of reconciliation between pluralism of significance and pluralism of presence.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"19-29"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44060458","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 article I will argue that the feminist theoretical paradigm in approaching the issue of sexual difference should be adjusted. Feminism at present mainly relies on phenomenology of the other and pays much attention to the significant ambiguity of the human body. But I will explain that the phenomenological argument for the sexual asymmetry is invalid. All human beings with gender are bodily conditioned. Gender issues must be integrated into the universal human impulse of liberation which is based on a self-understanding. The gendered self is culturally shaped. An intercultural comparative perspective can allow us to obtain a wider horizon to explore the relationship between a person’s sexually conditioned being and his self-understanding. In my discussion of gender and self, the contrast between China and the West is exemplary. Despite different self-understandings with regard to sex, the pursuit of freedom can be universally noticed. Notwithstanding the sexually embodied existence, human beings in both the West and East have generally theorized and practiced the spiritualization of self in metaphysics and religions. In order to make this point clear I take early Indian Buddhism as an example. My argumentation may seem intercultural and comparative, but fundamentally I am problem-oriented and point to the dimension beyond cultural comparison.
{"title":"Sexual difference and self-understanding – a comparative perspective on the liberation of bodily conditioned human beings","authors":"L. Jianjun","doi":"10.4000/estetica.5956","DOIUrl":"https://doi.org/10.4000/estetica.5956","url":null,"abstract":"In this article I will argue that the feminist theoretical paradigm in approaching the issue of sexual difference should be adjusted. Feminism at present mainly relies on phenomenology of the other and pays much attention to the significant ambiguity of the human body. But I will explain that the phenomenological argument for the sexual asymmetry is invalid. All human beings with gender are bodily conditioned. Gender issues must be integrated into the universal human impulse of liberation which is based on a self-understanding. The gendered self is culturally shaped. An intercultural comparative perspective can allow us to obtain a wider horizon to explore the relationship between a person’s sexually conditioned being and his self-understanding. In my discussion of gender and self, the contrast between China and the West is exemplary. Despite different self-understandings with regard to sex, the pursuit of freedom can be universally noticed. Notwithstanding the sexually embodied existence, human beings in both the West and East have generally theorized and practiced the spiritualization of self in metaphysics and religions. In order to make this point clear I take early Indian Buddhism as an example. My argumentation may seem intercultural and comparative, but fundamentally I am problem-oriented and point to the dimension beyond cultural comparison.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"48-62"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45940139","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 the Western World, the academic study of philosophy is an ancient practice. The first organised universitas in which philosophy was studied as an autonomous discipline was founded in Paris in the 13th century, and was promoted by both the kings of France and the popes of that period, especially Innocent III, Honorius III and Gregory IX. In those decades, which were so important for the birth of the European cultural and religious identity, Gregory IX significantly warned the masters of the...
{"title":"Introduction. The unbalanced relationship between the study of Western philosophy in China and that of chinese philosophy in the west","authors":"Erica Onnis, Xiao Ouyang","doi":"10.4000/estetica.5876","DOIUrl":"https://doi.org/10.4000/estetica.5876","url":null,"abstract":"In the Western World, the academic study of philosophy is an ancient practice. The first organised universitas in which philosophy was studied as an autonomous discipline was founded in Paris in the 13th century, and was promoted by both the kings of France and the popes of that period, especially Innocent III, Honorius III and Gregory IX. In those decades, which were so important for the birth of the European cultural and religious identity, Gregory IX significantly warned the masters of the...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"3-6"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48015674","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}
Esistono un vuoto negativo e un vuoto positivo. Il primo origina oppressione, il secondo si pone come spazio aperto al possibile, ed e questo il vuoto che l’arte cinese esprime: la possibilita del diverso, l’incompletezza dell’esistente, la parzialita del Primordiale che si da in un’immagine, in una pennellata, in un suono o in una parola che e sempre senza forma definita.
{"title":"Frammenti di un’estetica cinese del vuoto","authors":"Wolfgang Kubin","doi":"10.4000/estetica.6144","DOIUrl":"https://doi.org/10.4000/estetica.6144","url":null,"abstract":"Esistono un vuoto negativo e un vuoto positivo. Il primo origina oppressione, il secondo si pone come spazio aperto al possibile, ed e questo il vuoto che l’arte cinese esprime: la possibilita del diverso, l’incompletezza dell’esistente, la parzialita del Primordiale che si da in un’immagine, in una pennellata, in un suono o in una parola che e sempre senza forma definita.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"152-158"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48143763","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}
With the rapid proliferation of New Confucian studies since the mid 1980s, it has become an unquestioned dogma that one particular event at the beginning of 1958 marks a watershed in the movement’s development. This event is the publication of the Manifesto that Mou Zongsan 牟宗三, Tang Junyi 唐君毅, Xu Fuguan 徐復觀, and Zhang Junmai 张君劢 co-signed and published almost simultaneously in the two journals Minzhu pinglun 民評論 (Democratic Tribune) and Zaisheng 再生(National Renaissance) with the title 为中国文化敬告世界人士宣言─我们对中国学术研究及中国文化与世界文前途之共同认识 (Wei Zhongguo wenhua jinggao shijie renshi xuanyan –women dui Zhongguo xueshu yanjiu ji Zhongguo wenhua yu shijiewen qiantu zhi gongtong renshi; translated in English as A Manifesto on the Reappraisal of Chinese Culture – our Joint Understanding of the Sinological Study relating to World Cultural Outlook1). Scholars have interpreted the document as an emblematic expression of cultural conservatism, in reaction to the intellectual trend of 1920s best represented by the so-called Scienticist School (kexuejia 科学家). Concepts such as cultural identity and cultural conservatism, however, do not account for the philosophical richness articulated in the Manifesto, whose main purpose is to benefit Western intellectuals in ‘aiding them to appreciate Chinese culture’. In order to do so, the authors employ a strategic terminology, which allows them to build a consistent cross-cultural dialogue between Western and Chinese philosophy by means of an unprecedented discourse on Chinese Rationalism (Zhongguo xinxing zhi xue 中国心性之学). Interestingly, the latter is described by the authors as «the essence of Chinese Culture» and, beside its comparative value, it represents the most comprehensive configuration of Confucianism in the context of 20th century. Academic interest in Chinese Studies and Chinese Philosophy should take into account the articulation of Chinese Rationalism in the Manifesto of 1958 as representing a paradigm of post-comparative dialogue that exemplifies the underlying philosophical continuity beyond consistently different traditions of thought.
{"title":"The Manifesto of 1958: a discourse on Confucian Rationalism","authors":"Alice Simionato","doi":"10.4000/estetica.6089","DOIUrl":"https://doi.org/10.4000/estetica.6089","url":null,"abstract":"With the rapid proliferation of New Confucian studies since the mid 1980s, it has become an unquestioned dogma that one particular event at the beginning of 1958 marks a watershed in the movement’s development. This event is the publication of the Manifesto that Mou Zongsan 牟宗三, Tang Junyi 唐君毅, Xu Fuguan 徐復觀, and Zhang Junmai 张君劢 co-signed and published almost simultaneously in the two journals Minzhu pinglun 民評論 (Democratic Tribune) and Zaisheng 再生(National Renaissance) with the title 为中国文化敬告世界人士宣言─我们对中国学术研究及中国文化与世界文前途之共同认识 (Wei Zhongguo wenhua jinggao shijie renshi xuanyan –women dui Zhongguo xueshu yanjiu ji Zhongguo wenhua yu shijiewen qiantu zhi gongtong renshi; translated in English as A Manifesto on the Reappraisal of Chinese Culture – our Joint Understanding of the Sinological Study relating to World Cultural Outlook1). Scholars have interpreted the document as an emblematic expression of cultural conservatism, in reaction to the intellectual trend of 1920s best represented by the so-called Scienticist School (kexuejia 科学家). Concepts such as cultural identity and cultural conservatism, however, do not account for the philosophical richness articulated in the Manifesto, whose main purpose is to benefit Western intellectuals in ‘aiding them to appreciate Chinese culture’. In order to do so, the authors employ a strategic terminology, which allows them to build a consistent cross-cultural dialogue between Western and Chinese philosophy by means of an unprecedented discourse on Chinese Rationalism (Zhongguo xinxing zhi xue 中国心性之学). Interestingly, the latter is described by the authors as «the essence of Chinese Culture» and, beside its comparative value, it represents the most comprehensive configuration of Confucianism in the context of 20th century. Academic interest in Chinese Studies and Chinese Philosophy should take into account the articulation of Chinese Rationalism in the Manifesto of 1958 as representing a paradigm of post-comparative dialogue that exemplifies the underlying philosophical continuity beyond consistently different traditions of thought.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"125-138"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41518723","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 complex and long genesis of the Daodejing is widely known. Whether it was originally composed by a single author, the legendary Laozi, or whether it emerged over time as a sort of collective anthology ancient sayings, the text underwent countless changes made by copyists and commentators over the centuries, and the Daodejing extensively published today is clearly something different from its first (and second) versions. For this reason, as well as for the nature of Chinese thought itself, it seems inappropriate to search for a philosophical “system” in the Daodejing. Nonetheless, the text can shed light on the view of nature permeating classical China. The paper will focus on three issues. The first is the ontological non-individualization of the Dao, which is the counterpart to the epistemological individualization of the human and social world. The second is the kind of metaphysics that can frame these features: a metaphysics of diachronic events, processes, and emergences, rather than a synchronic metaphysics of objects, substances, and monadic properties. The third, finally, is the fragmenting power of language, which through naming and knowledge creates that individualization that splits the undivided unity of the Dao.
{"title":"Il ceppo e l’intaglio. Riflessioni metafisiche sul Daodejing","authors":"E. Onnis","doi":"10.4000/ESTETICA.5979","DOIUrl":"https://doi.org/10.4000/ESTETICA.5979","url":null,"abstract":"The complex and long genesis of the Daodejing is widely known. Whether it was originally composed by a single author, the legendary Laozi, or whether it emerged over time as a sort of collective anthology ancient sayings, the text underwent countless changes made by copyists and commentators over the centuries, and the Daodejing extensively published today is clearly something different from its first (and second) versions. For this reason, as well as for the nature of Chinese thought itself, it seems inappropriate to search for a philosophical “system” in the Daodejing. Nonetheless, the text can shed light on the view of nature permeating classical China. The paper will focus on three issues. The first is the ontological non-individualization of the Dao, which is the counterpart to the epistemological individualization of the human and social world. The second is the kind of metaphysics that can frame these features: a metaphysics of diachronic events, processes, and emergences, rather than a synchronic metaphysics of objects, substances, and monadic properties. The third, finally, is the fragmenting power of language, which through naming and knowledge creates that individualization that splits the undivided unity of the Dao.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"63-83"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46862930","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 introduction of the essay shows the impossibility of considering both China and Europe as univocal cultural identities schematically opposed. Starting from this, the main goal of the article is to put into comparison the specific artistic experience of Chinese and European painting. The historical moment taken into account includes some examples from European painting between the late Middle Ages and the Nineteenth Century as well as some from Chinese painting between the Ming and Qing era. From this comparison, the article aims to highlight some elements of discontinuity between European ontology of art and Chinese pictorial conception. Western portrait is considered as an expression of the individual character of its creator, as well as of the subject represented and of the collective character of the historical era in which it is conceived. On the contrary, Chinese landscape painting is considered as a manifestation of the “emptiness” of the author’s “non-self” and, at the same time, as an expression of the dynamic processes of nature exceeding both the limits of the subject and those of the historical context. While in the transition from the Renaissance to the Baroque, both the works of art and the handwork details condense the epochal taste (kunstwollen) and the spirit of the time (Zeitgeist), in China the historical and artistic processes are part of the process of Dao and express the flow of the supra-historical energy of qi.
{"title":"Pittura, soggettività e storia. Forme estetiche e attraversamenti ermeneutici fra Cina ed Europa","authors":"Alberto Giacomelli","doi":"10.4000/estetica.5932","DOIUrl":"https://doi.org/10.4000/estetica.5932","url":null,"abstract":"The introduction of the essay shows the impossibility of considering both China and Europe as univocal cultural identities schematically opposed. Starting from this, the main goal of the article is to put into comparison the specific artistic experience of Chinese and European painting. The historical moment taken into account includes some examples from European painting between the late Middle Ages and the Nineteenth Century as well as some from Chinese painting between the Ming and Qing era. From this comparison, the article aims to highlight some elements of discontinuity between European ontology of art and Chinese pictorial conception. Western portrait is considered as an expression of the individual character of its creator, as well as of the subject represented and of the collective character of the historical era in which it is conceived. On the contrary, Chinese landscape painting is considered as a manifestation of the “emptiness” of the author’s “non-self” and, at the same time, as an expression of the dynamic processes of nature exceeding both the limits of the subject and those of the historical context. While in the transition from the Renaissance to the Baroque, both the works of art and the handwork details condense the epochal taste (kunstwollen) and the spirit of the time (Zeitgeist), in China the historical and artistic processes are part of the process of Dao and express the flow of the supra-historical energy of qi.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"59 1","pages":"30-47"},"PeriodicalIF":0.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46320068","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 concept of design, and designing, is so ambiguous that even the most obvious cornerstones, commonly built around opposite couples like the opposition between ontology and epistemology, or architectural theory and design theory. Going beyond those couples, as difficult as it may be, requires a third glance, whose reasoning may generate a new way of looking at things and, thus, act. That’s why we propose a Side-by-side Reading: on the one hand, a philosophical though about design, on the other, an architectural one. No intersections are provided, other than paragraph articulation. The reader will have the chance, and the power, to build as many bridges between the two parts as he’ll desire, so that the punctual inspiration of one part could serve also for the other. Concerning the general meanings, the premises and the actual conceptual outcomes, the two parts are totally on the same side. But at the same time, their ultimate meaning should not be limited to the words, without those conceptual bridges, even unconscious ones: also, that’s consistent with the contents of the paper. No dialogues of the deaf, here: the paper propose something more like the Fourth Simphony by Charles Ives, where two orchestra plays two different things at the same time, connected by a third element – a distant chorus. Here, the chorus, the referent, is the act of design, or the act of knowing, unveiling, deciding, hoping a future: and the key for breaking the opposite couples is a new glance aimed at considering design as the effective strategic exploitation of potential.
{"title":"Il filo e la marionetta","authors":"Carlo Deregibus, Alberto Giustiniano","doi":"10.4000/estetica.5601","DOIUrl":"https://doi.org/10.4000/estetica.5601","url":null,"abstract":"The concept of design, and designing, is so ambiguous that even the most obvious cornerstones, commonly built around opposite couples like the opposition between ontology and epistemology, or architectural theory and design theory. Going beyond those couples, as difficult as it may be, requires a third glance, whose reasoning may generate a new way of looking at things and, thus, act. That’s why we propose a Side-by-side Reading: on the one hand, a philosophical though about design, on the other, an architectural one. No intersections are provided, other than paragraph articulation. The reader will have the chance, and the power, to build as many bridges between the two parts as he’ll desire, so that the punctual inspiration of one part could serve also for the other. Concerning the general meanings, the premises and the actual conceptual outcomes, the two parts are totally on the same side. But at the same time, their ultimate meaning should not be limited to the words, without those conceptual bridges, even unconscious ones: also, that’s consistent with the contents of the paper. No dialogues of the deaf, here: the paper propose something more like the Fourth Simphony by Charles Ives, where two orchestra plays two different things at the same time, connected by a third element – a distant chorus. Here, the chorus, the referent, is the act of design, or the act of knowing, unveiling, deciding, hoping a future: and the key for breaking the opposite couples is a new glance aimed at considering design as the effective strategic exploitation of potential.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47169965","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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