Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, in (...) a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed on (...) their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, (...) nace el Nouveau Realisme y la voluntad artística de la superación del problema del arte según el Modernismo y la Action Painting. En ese episodio y en su narración, hecha sucesivamente por los tres jóvenes artistas, se puede localizar el nacimiento del propio y auténtico mito del artista contemporáneo. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

“Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...) and different ways of para-textual activation, entitle and unable us to such an operation and to live an aesthetic relation? This issue of “Aisthesis” explores the conditions under which it could be useful to distinguish between aesthetic objects and artworks–visual, musical, literary, performing arts– and to admit that the existence of the latter depends on a marginal and basic component of them: tags. The issue contains articles by Jerrold Levinson, Bernard Sève, Filippo Focosi, Alberto Voltolini, Giulia Alberti, Pietro Kobau, Jean-Pierre Cometti, Isabelle Thomas-Fogiel, Filippo Fimiani, Bertrand Rougé, Leardo Botti, Michel Déguy, Jean-Marie Klinkenberg, Micla Petrelli, Andrea Olivieri, Alessandro Ottaviani. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...) performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

Inspired by the text entitled The Collapse of the Fact/Value Dichotomy and Other Essays (2004) of Hilary Putnam, the volume focuses on the theory and practice of knowledge, but one can legitimately extend it to other fields, most especially in aesthetics. Certain observable features in the fields of aesthetics, practice and artistic creation show that old evaluation criteria may now be obsolete. This is because upon further consideration, the definition of value remains opaque : should the artwork be judged according (...) to its moral value, its market value, or its formal value ? To side with or against the concept of value in art and aesthetics does not preclude a certain number of differences concerning the very nature of what is meant by value. If traditionally the ‘fact’ was the work, taken in all its tangibility, currently the materiality of the object no longer seems to play such a major role. Art is increasingly populated by so-called ‘immaterial’ or ‘ephemeral’ works and is therefore rarely, or badly, quantifiable according to old aesthetic and economic evaluation criteria. The progressively pragmatic contextualization of works within the social space puts forward a new definition of aesthetic value, no longer eternal and ideal, but rather anchored in the sensible and the politico-economic issues of a culturally specific situation. The current changes too support the idea that the question of ‘value’ and its confrontation with the concept of ‘fact’ is urgent. What role do artistic practices and aesthetic theories play ? A role of emancipation, of liberation, escape, or transformation ? Or on the contrary, could art become another means to subject individuals to the status quo ? As can easily be noticed, the question of maintaining or rejecting the dichotomy of facts and values is at the heart of the most pressing issues. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington really embodies the beauty of his meaning. For him, the Memorial’s “internal beauty” is felt and read because she is built as a text by the rhetoric of enthymeme, as a syllogism based on some tacit knowledges and highly probables communplaces. However, the relationship to the Kant’s pulchritudo adhaerens and philosophy of architecture is not an easy one : Danto rejects as unreadable the self-referent formalism of Greenberg’s Modernism and (...) the environmental non-monumentality of Richard Serra’s Minimalism, but the agency of the Memorial’s shared internal beauty is haunted by an unquestioned spectral logic. Actually, the image embodiment in this work can always exceed the rhetoric of reconnaissance supported by the syllogistic rhetoric and disturb the identity framework of the nord-american community. The beholders’ reflecting shape on the Memorial can become, finally, an unreadable and pathetic index, or be perceived as a figural imprint, ephemeral and troubling ; these disembodied pictures can achieve a medial incarnation – e.g. a Verkörperung – of the underworld. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...) a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...) phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art. (shrink)

“La ‘modernidad’ a través de la imagen de la comida y la digestión”. Ésta es la tarea y el programa de la genealogía fisiológica y psicológica identificada con claridad por Nietzsche en un fragmento del otoño de 1888 y firmemente perseguida en toda su obra. El diagnóstico es implacable y es posible por un uso extendido de la metáfora gastronómica, aplicada a todos los campos de la experiencia y el lenguaje por una escritura temeraria de la historia. Como Valéry y (...) Péguy también lo ilustran, la experiencia de los hombres contemporáneos es pobre y enferma y se caracteriza por una duplicidad radical y una contradicción sin síntesis. No sólo las cosas, como además lo muestra en sus análisis sobre las mercancías como nuevos jeroglíficos que marcan el espacio saturado de la metrópolis, sino también el hombre es doble, así como su corporizada y profundamente fisiológica economía. Su estómago hambriento tiene dos caras, porque todo lo toma pero no nutre en absoluto; vocifera acerca de entusiasmos varios y heterogéneos, no sobre un verdadero alimento para ser absorbido y transformado. En resumen, vive por un instante sin pasado ni futuro. El opuesto de esta lógica de la enfermedad y la insensibilidad en busca de muchas sensaciones y shocks sensacionales, y el reverso de este olvido por rapidez excesiva, es un ser anti- o incluso premoderno en extremo. En los tiempos modernos, el entrenamiento de un criticismo genuino acerca de los prejuicios y el supuesto auto-conocimiento implican una regresión y una alteración de las propias identidades históricas, las creencias y los valores. Finalmente, como Benjamin y Warburg lo revelaron, el criticismo es como tornarse otra vez animal y la interpretación es como recuperar la lentitud y la melancolía de un eterno masticar, al igual que un perro o una vaca. (shrink)

This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in (...) a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject. The present book is situated in this field of research. The "La Licorne" series in which it is published specializes in the study of ancient and modern literature, a specialization to which this volume corresponds. This volume has two points of focus: (1) the literary form of description and the complex relationships between word and image, between the oral and the visual (hence the title Le défi de l'art, which signifies, among other things, that the art of the painter and of the sculptor challenges the sophist, who tries to describe works of art with words); (2) the Nachleben of ancient texts, because Philostratus and Callistratus were well-known to posterity, particularly during the Renaissance. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of (...) the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)

« The destiny of Art—a revenant». « The object of Art might be to seek to eliminate the necessity of the object ». This book’s theme and method stand halfway between these two assertions—the first by the German romantic poet Novalis, the second by the Californian post-minimalist artists Robert Irwin and James Turrell about a research program on art and technology in the late 1960s. Neither of these statements declares that art is dead. On the contrary, they announce that art (...) is not yet present, that it has not yet happened. According to its destiny or to its project, art is always future, and for this very reason it keeps returning from the past and repeating itself in various shapes and embodying itself in diverse media, perhaps not in the expected places but elsewhere—unrecognizable as art, anachronistic and fashionable. Like a revenant going through a wall, the untimely future of art will come across words, things and artworks, subjectiles and gestures, either in the world of art or in ordinary life. Using the tools of aesthetics, visual studies and mediology, the present book seeks to capture some of these ghosts and hauntings. (shrink)

Le tableau vivant, Bernard Vouilloux; Publisher - Flammarion; ISBN - 978-2080126948Le geste, Bernard Vouilloux; Publisher - LETTRE VOLEE; ISBN - 978-2873171605.

BERNARD VOUILLOUX, L’oeuvre en souffrance. Belin 2004 BERNARD VOUILLOUX, Tableaux d’auteurs. P.U.V. 2004.

L’estiu de 1947, tres joves amics, Yves Klein, Claude Pascal i Armand Fernandez, s’asseuen a la platja de Niça. Encara no són artistes, no fan res i perden el temps omplint-lo de projectes i paraules. Prenen el sol, miren el mar i el cel de la Mediterrània, fan declaracions entusiastes sobre el Gran Art del futur i comparteixen la natura, com uns nens que es divideixen un regne imaginari. Klein pren el blau del cel que abasta amb la mirada, com (...) el color absolut i ideal de la pintura. -/- Yves le Monochrome dirà diverses vegades que, aquell matí d’estiu, va fer un viatge fantàstic, com si fos un astronauta conquerint l’espai, i va signar, com si es tractés d’un llenç pintat de blau, l’altre costat d’aquest bell cel sense núvols: la més bella i la més gran de les seves obres. Aquest cel blau pintat de blau és una obra immaterial i impossible, no feta per les mans de l’artista, amb colors, pinzells i teles, sinó explicada amb les seves paraules, mites i llegendes. (shrink)

Shutter Island is a much-criticized and highly debated film. Scorsese, in fact, has been accused of distorting the facts and altering his historical sources. The depictions we see of the Holocaust are false, not based on visual documents, a mix of incompatible evidences and iconographies, an amalgam of irreconcilable informations and representations. The director has created a visual style and a sound design that vacillate between thriller and horror, drama and fantasy, while betraying the medial transparency of the reconstruction and (...) the ethical responsibility of interpretation. The viewer sees and believes in the images of the concentration camp of Dachau which are, in reality, dialectical imaginings of another scene: in these images, constructed according to the clinical and critical vision of Scorsese as cinephile, the past and the repressed return in the present. In our present too. On the one hand, in fact, the viewer participates empathically in the mental images relived and suffered by the protagonist in his post-traumatic hallucinations; on the other hand, the viewer is prompted to recall the pictures quoted or paraphrased from the archives of the imagery of cinema and of the photojournalism of war–in which Pontecorvo, Resnais, Fuller, George Stevens and John Huston live side by side with the RKO horror films of Jacques Tourneur and Mark Robson. For Scorsese, the images of the violence of war and of the horror of extermination cannot be linked to an origin or past that have definitively been concluded. They are more than recorded pictures or concrete evidences: they are clues and symptoms. They come from a conflictual and endless descent of which cinema is the living and ambiguous memory; they are the open wounds of an original struggle between human and inhuman and of man–they still survive, here and now. (shrink)

What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...) art without any artefact at all? In the late '50sand early'60s in Paris, Andy Warhol and Yves Klein claimin different butvery similar ways the end of painting and the disappearing of the work of art from the exposition site and its becoming immaterial or environmental art, indiscernible within its surrounding living space and, finally, with the atmosphere of glamour and snobbish artist’s life. What kind of phenomenology, pragmatic, rhetoric, poetics, economy and ontology is possible when nospectatorialmode of visual consumption is any longer possible? What type of aesthetic relationship actually happens under these planned and produced conditions of non-perceptual and ‘artialized’ living experience? After more than fifty years, the statements of The philosophy of Andy Warhol and the Exposition of void of Yves Klein have not yet stopped to pose questions as such to aesthetics, theory of literature and critics, and to the history of art. (shrink)

What is at stake in this counterintuitive reappraisal of such different authors as Claudel, Valéry and Nietzsche is not a poietics of artistic techniques and processes but their style of sensorial and sensitive subjectivation as such. The aim is not a comparative philosophy of art but a genealogy of aesthetic experience. The three authors here considered differ widely in terms of their worldviews and cultural backgrounds. However, they share a similar radical critical view of the Modern and its idols—the cartesian (...) subject, historical progress, the economy of time and memory, the originality of the artist, artistic exceptionalism, etc—as well as a meticulous philological attention paid to the dynamics of how the subject becomes and says itself through a confrontation with the figures of otherness that precede it and haunt it. (shrink)

The Seven Heavenly Palaces were created by Anselm Kiefer to inaugurate the HangarBicocca in Milan in 2004, and, after an intervention on the site in 2008, were transferred, preserved and repaired, finally relocated differently for a new and definitive exhibition, with some paintings, in 2015. Erected around prefabricated containers, these monumental ruins in reinforced concrete, are in fact assembled, reconstructed and restored ruins, nonarchitectural and metaphorical buildings with a mass of complementary materials considered an integral part of the work and (...) credited as produced by the artist in person. According to what preunderstandings and values the operation of conservation and operation has been established and carried out ? According to which idea of the ontological, perceptual and semantic identity of the work of art the aesthetic experience of this high problematic site-specific installation has been reconfigured ? (shrink)

Thanks to the experimental nature of the conference where this research was originally discussed, the article offers a quick survey of the production, circulation and reception of manuscripts with philosophical texts in the Byzantine world, under a new methodology. In the first part, some of the most important manuscripts of philosophical texts are ‘stratigraphically’ analized: in this way, historiographical totem as the so-called «premier humanisme byzantin» or the «macedonian Renaissance» are discussed and revised. In the second part, I examine literary (...) evidences about the circulation of philosophical works in the different periods of Byzantine history, prudently trying to connect them with the quantitative datas which can be inferred from databases as the Mertens-Pack 3 and Pinakes. (shrink)

In the past two decades academic and research literature on “corruption” has flourished. During the same period organizations and initiatives fighting against corruption have also significantly expanded, turning “anti-corruption” into a new research subject. However, despite a few exceptions there is a division of labor between scholars who study corruption itself and those who study the global anti-corruption industry. Juxtaposing corruption’s local discourses and anti-corruption international practices, this article is an attempt to bring together these two intertwined research dimensions and (...) explore how an ethnographic approach might contribute to framing them together. Firstly, it describes how corruption in Romania is often conceptualized and explained in terms of national heritage, something related to old and recent cultural history, including traditional folklore. Secondly, it explores how anti-corruption works in practice, focusing on international legal cooperation projects monitoring the progress and shortcomings both prior to and post Romania’s accession to the European Union. Finally, revealing the articulations of these two apparently unrelated research fields, the article argues that corruption’s local explanations and the circular logic of auditing observed within the anti-corruption industry share a common developmental ideology mirroring the crypto-colonialist structure of power relations and dependency among European nation-states emerging out of the Cold War. (shrink)

Since the collapse of the Berlin Wall, there has been a widespread affirmation of economic ideologies that conceive the market as an autonomous sphere of human practice, holding that market principles should be applied to human action at large. In the wake of the 2008 financial crisis, the ascendance of market reason has been countered by calls for reforms of financial markets and for the consideration of moral values in economic practice. This book intervenes in these debates by showing how (...) neoliberal market practices engender new forms of religiosity, and how religiosity shapes economic actions. It reveals how religious movements and organizations have reacted to the increasing prominence of market reason in unpredictable, and sometimes counterintuitive, ways. Using a range of examples from different countries and religious traditions, the book illustrates the myriad ways in which religious and market moralities are closely imbricated in diverse global contexts. (shrink)

We hypothesize that heritable epigenetic changes can affect rates of fitness increase as well as patterns of genotypic and phenotypic change during adaptation. In particular, we suggest that when natural selection acts on pure epigenetic variation in addition to genetic variation, populations adapt faster, and adaptive phenotypes can arise before any genetic changes. This may make it difficult to reconcile the timing of adaptive events detected using conventional population genetics tools based on DNA sequence data with environmental drivers of adaptation, (...) such as changes in climate. Epigenetic modifications are frequently associated with somatic cell differentiation, but recently epigenetic changes have been found that can be transmitted over many generations. Here, we show how the interplay of these heritable epigenetic changes with genetic changes can affect adaptive evolution, and how epigenetic changes affect the signature of selection in the genetic record. (shrink)

According to the recent Perceptual Confidence view, perceptual experiences possess not only a representational content, but also a degree of confidence in that content. The motivations for this view are partly phenomenological and partly epistemic. We discuss both the phenomenological and epistemic motivations for the view, and the resulting account of the interface between perceptual experiences and degrees of belief. We conclude that, in their present state of development, orthodox accounts of perceptual experience are still to be favoured over the (...) perceptual confidence view. (shrink)

Wason’s selection task is a paramount experimental problem in the study of human reasoning, often connected with the celebrated ravens paradox in the philosophical literature. Various normative accounts of the selection task rely on a Bayesian approach. Some claim vindication of participants’ rationality. Others don’t, thus following Wason’s original intuition that observed responses are mistaken. In this article we argue that despite claims to the contrary, all these accounts actually speak to the same effect: Wason was right. First, we provide (...) a new accuracy-based analysis of the selection task that includes the existing proposals as special cases. We then show on this basis that none can actually vindicate participants’ rationality. We conclude that all normative renditions considered eventually concur: all in all, Bayesians should follow Wason in the selection task. (shrink)

COVID-19 has brought to light the severity of economic inequalities by testing the capacity of the poorest families to make ends meet. Food insecurity has in fact soared all over the UK, with many people forced to rely on food support providers to not go hungry. This paper uses a unique dataset on 55 food support organizations active in Greater Manchester during the first COVID-19 wave, and 41 semi-structured interviews with food aid spokespersons and stakeholders, to shed light on what (...) they overcame, the complications and drawbacks of the food emergency response plan put in place. The results indicate that food aid organizations that remained open were surprisingly effective despite the growth in user demand and the decrease in volunteers. However, the necessity to maintain a timely supply food at all costs came with important drawbacks. The lockdown measures that followed COVID-19 not only affected the financial stability and management of the organizations, and the availability of food, but undermined the ways in which food support providers used to operate. Owing to physical distancing measures and to the increasing numbers of users, more or less intangible forms of support such as financial advice, empathic listening and human warmth were partially lost, probably when they were needed more than ever. (shrink)

According to the form of logical pluralism elaborated by Beall and Restall there is more than one relation of logical consequence. Since they take the relation of logical consequence to reside at the very heart of a logical system, different relations of logical consequence yield different logics. In this paper, we are especially interested in understanding what are the consequences of endorsing Beall and Restall’s version of logical pluralism vis-à-vis the normative guidance that logic is taken to provide to reasoners. (...) In particular, the aim of this paper is threefold. First, in Sections 2 and 3, we offer an exegesis of Beall and Restall’s logical pluralism as a thesis of semantic indeterminacy of our concept of logical consequence – i.e. understood as indeterminacy logical pluralism. Second, in Sections 4 and 5, we elaborate and critically scrutinize three models of semantic indeterminacy that we think are fit to capture Beall and Restall’s indeterminacy logical pluralism. Third, in Section 6, following Beall and Restall’s assumption that the notion of logical consequence has normative significance for deductive reasoning, we raise a series of normative problems for indeterminacy logical pluralism. The overall conclusion that we aim to establish is that Beall and Restall’s indeterminate logical pluralism cannot offer an adequate account of the normative guidance that logic is taken to provide us with in ordinary contexts of reasoning. (shrink)

Contemporary philosophy is beginning to pay to problems of linguistic justice the attention that they deserve in today’s heavily interconnected world. However, contemporary philosophy, as a part of today’s world, has problems of linguistic justice of its own which deserve meta-philosophical attention. At least in the philosophical tradition that is mainstream in much of the world today, viz. analytic philosophy, methodological and sociological mechanisms make it the case that the voices of non-native-speaking philosophers are substantially less heard. In this essay, (...) I briefly outline the problems non-native speakers face in contemporary analytic philosophy. I then move on to analysing the possible causes of the current problems. Among these reasons, I argue, is the emphasis given to linguistic style and appearances as signs of clarity, precision and rigour in the treatment of philosophical problems. I argue that the current emphasis on linguistic style in analytic philosophy is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives. I argue that an important remedy for the emphasis on linguistic appearances within philosophy is to foster greater linguistic diversity. I conclude by presenting and motivating a recent initiative that aims to achieve such a goal. (shrink)

The problem of explaining color perception has fascinated painters, philosophers and scientists throughout the history. In many cases, the ideas and discoveries about color perception in one of these categories influenced the others, thus resulting in one of the most remarkable cross-fertilization of human thought. At the end of the nineteenth century, two models stood out as the most convincing ones: Young-Helmholtz’s trichromacy on one side, and Hering’s opponency on the other side. The former was mainly supported by painters and (...) scientists, although with some noticeable exceptions as, e.g., Otto Runge, while the majority of philosophers supported the latter. These two apparently incompatible models were proven to be two complementary parts of the hugely complex chain of events which leads to human color perception. Recently, a rigorous mathematical theory able to incorporate both trichromacy and opponency has been developed thanks to the use of the language and tools of quantum information. In this paper, we discuss the placement of this model within the philosophical theories about color. (shrink)

Building on 42 semi-structured interviews with directors and stakeholders of food charities based in Greater Manchester (UK), alongside online data and Factiva references trends, I argue that the charitable food provision (CFP) sector can be effectively conceptualized as a strategic action field (SAF). To do so, I first focus on the shared rules, understandings and practices characterising the organizations that belong to the field and on the broader field environment that imposes constraints and provides opportunities to the field actors. Subsequently, (...) I examine the characteristics of five particularly relevant charities to describe the social positions and position-takings of the incumbent, the challengers and the group I refer to as sideliners of the field. Hence, I briefly touch upon the Covid-19 outbreak as an exogenous shock to discuss the effect of the campaign carried out by a ‘socially skilled actor’ - football player Marcus Rashford. I conclude by suggesting future research directions to enhance the application of SAF theory as a tool for investigating food support organizing within and across countries. (shrink)

Some time ago, the philosopher Luciano Floridi suggested that Western philosophy, and the mainstream contemporary approach to it traditionally called ‘analytic philosophy’, is in dire need of a reboot. The concern was that the discipline might be in a period of decadence. Analytic philosophy would be benefited by greater internationalization, wider and more transparent decision-making, and the reduction (as much as possible) of conflicts of interest as well as of its current habit of hiring and providing publication opportunities on the (...) basis of contacts, networking, and academic pedigree. If we are right, then we need a reconditioning of the institutional framework of analytic philosophy that adjusts it to the current global and interconnected world. (shrink)

This book offers a clear, analytic, and innovative interpretation of Heidegger's late work. This period of Heidegger's philosophy remains largely unexplored by analytic philosophers, who consider it filled with inconsistencies and paradoxical ideas, particularly concerning the notions of Being and nothingness. This book takes seriously the claim that the late Heidegger endorses dialetheism--namely the position according to which some contradictions are true--and shows that the idea that Being is both an entity and not an entity is neither incoherent nor logically (...) trivial. The author achieves this by presenting and defending the idea that reality has an inconsistent structure. In doing so, he takes one of the most discussed topics in current analytic metaphysics, grounding theory, into a completely unexplored area. Additionally, in order to make sense of Heidegger's concept of nothingness, the author introduces an original axiomatic mereological system that, having a paraconsistent logic as a base logic, can tolerate inconsistencies without falling into logical triviality. This is the first book to set forth a complete and detailed discussion of the late Heidegger in the framework of analytic metaphysics. It will be of interest to Heidegger scholars and analytic philosophers working on theories of grounding, mereology, dialetheism, and paraconsistent logic. (shrink)

A partire dalla tesi che nel neoliberalismo è all’opera una pratica di governo degli altri che si effettua tramite la sollecitazione di un modo particolare di governo di sé, nel presente contributo si tenterà di considerare lo specifico regime di verità che si profila in relazione a questa forma di esercizio del potere. Per comprendere questa particolare declinazione della veridizione come tecnica di sé atta ad assicurare il governo degli altri l’articolo si svilupperà in tre parti. In un primo momento (...) si tenterà di definire la nozione di regime di verità affinché sia possibile comprenderne la portata in relazione alla governamentalità neoliberale. Si avrà così modo, in un secondo momento, di analizzare il regime di verità neoliberale andando a definire il suo funzionamento e i suoi bersagli. Sarà possibile, infine, studiare gli effetti che tali pratiche veridizionali ingenerano nei processi di soggettivazione nella misura in cui producono un individuo imprenditore di sé, le cui scelte e comportamenti devono essere animati dalla logica del capitale umano. (shrink)

PurposeInternational organizations are working on an unprecedented number of development initiatives relevant to people with disabilities. This makes it essential for the global disability community to be able to participate effectively in the decision-making processes associated with these programs. In light of this, this study aims to explore whether information technologies can help create a more inclusive global governance, forming the basis for equitable development for people with disabilities.Design/methodology/approachThe results of a global survey of disabled people’s organizations’ leaders are discussed. (...) This asked disability rights advocates about their experiences with accessibility and barriers to effective participation, low-cost accessible technological solutions for remote participation and freely available “off-the-shelf” online technologies – in particular social media platforms – to bridge the gap between the disability community and global governance processes.FindingsAlthough only a small number of international conferences offer accessible virtual participation through web conferencing and other tools, responses from DPO advocates suggest that there is a strong demand for this technology and provide evidence of its potential for improving accessibility in global governance. Furthermore, disability organizations all over the world have embraced social media platforms to liaise with their grassroots and enable them to part-take in policy-making processes.Originality/valueThis study highlights community-backed technological solutions to persisting barriers that systematically exclude people with disabilities from fundamental global governance processes, illuminating the nexus of disability, accessibility, and participation. (shrink)

The last quarter of a century has featured a surge in interest and studies on the commons, spearheaded, of course, by the efforts of Elinor Ostrom. These efforts have problematized the once well-established paradigm of the tragedy of the commons most clearly described by Garrett Hardin in 1968. One could say that the commons, thus, have become a fundamental field of study in most social sciences. This is not the case in the field of legal scholarship, which leads me to (...) the overarching issue of this essay, namely the difficult relationship between jurists and the commons. The phrase?difficult relationship? does not refer to an explicit antagonism, but to something even worse: complete indifference and a scandalous lack of knowledge. While my main purpose is to try to explain this sorry state of affairs, I also hope to make a more general point on the nature of law and legal change. In this sense, the commons can be considered a case-study in legal theory. The main issue of this paper is to tackle following sub-questions. What is the status of commons in the Western European legal discourse? Why do most legal scholars pay such a poor attention to the growing literature on the commons in other disciplines? What factors contribute to this peculiar case of cultural deafness? What promise of improvement does the future hold? nema. (shrink)