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  1.  1
    The Classification of the Substantive Arts.David Alvarogonzàlez - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):159-168.
    In this paper, I discuss certain criteria for classifying the substantive arts. In the first section, I explain the idea of substantive arts and then put forward sociological, historical, thematic and metaphysical criteria for classifying the arts that I deem to be external to the classified materials. I subsequently outline five classification criteria internal to works of art, themselves understood as techniques. Such criteria take into account the materials used in the works, the degree of destruction exercised therein, the degree (...)
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  2.  1
    From the First to the Third Critique. Judgment Sensible Position and Kant’s Concept of Zweckmäßigkeit.Antonio Branca - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):55-64.
    Starting from Lyotard’s definition of Kantian reflection as “judgment repercussion”, my contribution aims to describe the logical side of this repercussion. To do this, I will focus on Kant’s concept of “judgment”, explaining it as the logical act of constitution of experience. I will then point out how judgment involves sensibility for its self-affection and restriction to sensibility. Finally, I’ll give a nominal explication of Kant’s concept of Zweckmäßigkeit, returning to Lyotard’s interpretation. The purpose, in so doing, is to offer (...)
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  3. Salvation in the Rhythm? Crisis and Limitation in Henry Maldiney.Carmelo Colangelo - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):169-179.
    In the frame of an in-depth analysis on the fundamental motifs and main intentions of the works of Henry Maldiney, the essay focuses on the relationship between the dimensions of «limitation» and «unlimited» – the latter understood as the emergence of the «unlimited» within the very heart of a «limited» living body –, crucial for understanding Maldiney’s anti-objectivist attitude and his conception of reality as a surprise. More specifically, the author brings to the fore the concepts of «crisis», «rhythm» and (...)
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  4. Labyrinth, Ruin, Junkspace, Monad: Dialectical Images of the Contemporary City.Fabrizio Desideri - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):101-109.
    The theoretical presupposition of the discourse developed here is Benjamin’s conception of a dialectical image applied to the experience of the modern and contemporary city. The starting point is that of the radical strangeness between the inner life of the individual and the time of the modern metropolis. In this regard, we compare some verses taken from the third book of the Stundenbuch by Rainer Maria Rilke and Georg Simmel’s essay, Die Großstädte und das geistiges Leben, at the center of (...)
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  5. Il quiet sound delle periferie urbane. Nota sulla mostra di Pino Musi Polyphōnia. [REVIEW]Pina Di Luca - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):181-184.
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  6.  2
    Kant on the Purposiveness of the Reflecting Power of Judgment.Luigi Filieri - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):29-40.
    In this paper I argue that 1) Kant’s power of judgment is constitutively always reflecting, as its lawful employments involve a preliminary self-reference of the faculties the power of judgment itself is required to connect and let them match with each other. Accordingly, I claim that 2) the principle of purposiveness is the principle of the power of judgment as such, and not just of an allegedly self-standing reflecting branch of this faculty. I criticize the view that Kant draws a (...)
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  7.  1
    Marc de Launay, Peinture et philosophie, Paris, Cerf, «Passages», 2021. [REVIEW]Quentin Gailhac - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):184-186.
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  8. The The Bride Machine: Duchamp’s Theory of Art Revisited.Ricardo Ibarlucía - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):135-145.
    It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the historical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s (...)
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  9. Contradiction That Never Was: Epigenesis Versus Modularity in Evolutionary Aesthetics.Onerva Kiianlinna - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):79-91.
    Coevolutionary aesthetics has been forming since the early 2010s. Its contribution of great value has been the inclusion of cultural evolution into Darwinian theories on the origins of art and aesthetic judgement. Coevolutionary aesthetics – or non-modular evolutionary aesthetics as it is sometimes called – emphasizes that aesthetic behavior develops in a specific social environment. Coevolutionary aesthetics suggests that traditional evolutionary aesthetics, drawing from evolutionary psychology, has ignored this. The critical position stems from the widely accepted notions that humans adapt (...)
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  10. Husserl’s Teleologie der «Tiefen» Assoziationen as Foundation of the Theory of Judgment in Comparison with Millikan’s Teleosemantic Theory.Andrea Lanza - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):65-78.
    The paper inquires Husserl’s immanent teleology of conscious life, conceived as a Teleologie der «tiefen» Assoziationen. The associative genesis entails synthetical processes in the primordial-associative field, driven by the general concept of interest. The resulting syntheses ground the various forms of judgments, both judgments on experience and predicative ones in general. Since the theory’s foundation relies on pre-predicative experience, then it must encompass its teleological dimension and, in this sense, the concept of evidence – pivotal in the theory – mirrors (...)
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  11.  1
    Aesthetic Experience as a Framing of Reality: The Impact of Digital Media on Visual Perception, Between Pandemic Context and Museum Approach.Caterina Zaira Laskaris - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):123-133.
    The situation caused by the coronavirus pandemic has not qualitatively changed our aesthetic experience, but rather intensified certain perceptual habits that had already been in place for quite a long time, highlighting their characteristics. In particular, the relationship between movement and framing and our close familiarity with digital media in the visual aesthetic experience. This aspect has been acknowledged in the museum context, but we are still at the beginning of a path leading to a more conscious implementation of the (...)
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  12. Filter Bubbles. Art and Digital Worlds.Francesca Perotto - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):111-121.
    Our experience is marked by the constant, and often imperceptible, presence of technological actors that, with their operational mechanisms, greatly influence the processes of construction of the worlds – both physical and imaginary – in which we live and, consequently, of ourselves. In the last decade, internet-based media have introduced a further level of mediation, constituted by the activity of profiling and the construction of filter bubbles, whose power reverberates offline. The context of the pandemic contagion we are experiencing has (...)
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  13. Ramón Andrés, Il mondo nell’orecchio, trad. it. M. Nicola, Adelphi, Milano 2021. [REVIEW]Pier Alberto Porceddu Cilione - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):186-190.
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  14.  1
    Systematicity, Purposiveness, Necessity: From the Transcendental Deduction of the Ideas to the Transcendental Deduction of the Principle of Purposiveness of Nature.Lorenzo Sala - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):41-53.
    In this paper I argue for a strong continuity between the transcendental deduction of the principle of purposiveness of nature and the transcendental deduction of the ideas from the first critique. On these grounds, I provide an interpretation of the transcendental deduction of the principle of purposiveness of nature in which I argue that: 1) the necessity of the principle of purposiveness of nature does not derive from its role in solving some specific philosophical problem but from its relation to (...)
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  15. Teleology as a Way to Religion. Hölderlin and the Antinomy of Judgement.Barbara Santini - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):93-100.
    The paper discusses Hölderlin’s reading of the Kantian antinomy of the faculty of judgement from a letter to Hegel in January 1795. Its meaning is first explored in relation to a kind of distinctiveness that Hölderlin recognizes to the solution of the antinomy, to the point of considering it the place where the entire spirit of the Kantian system comes to the fore. Secondly, the prototypical role of the antinomy of the faculty of judgement for the other antinomies is shown (...)
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  16. Robert Smithson’s Aesthetics and the Future of Earth Art.Mariya Veleva - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):147-158.
    Environmental pollution is a global problem today, and together with urbanization closely intertwined with the current pandemic and the challenges facing humanity. This text, based on Robert Smithson’s aesthetic theory and production, intends to show that Earth Art could provide a critical comprehension of industrial culture, could oppose its Gestell, and sensitize society to the current environmental problems. I also discuss Smithson’s multi-stratified art works, his preference for processes over objects and his critical reflection on museums and galleries as closed (...)
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  17.  1
    A New Image of Humanity? A Transcendental in the Making.Stefano Velotti - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):5-15.
    If it is true that at the core of the Enlightenment project was an attempt to discover a new definition of human nature itself, there is no doubt that for a long time, and today more than ever, there is a similar urgency to find a different vision of humanity, since the prevailing one – heir of the Enlightenment – is perceived from many sides as in need of a profound revision, if not catastrophic. if we are living in the (...)
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  18. The The Teleological Program. Ernst Mayr’s Teleonomy From Philosophy to Cybernetics.Francesco Vitale - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (2):17-28.
    Teleology is still a source of embarrassment for the natural sciences and in particular for biology that seems unable to describe and explain the genesis and structure of life without it. How is it possible for something not yet existing to determine the occurrence of what is temporally prior to it? How can the future cause the present and the past? In what follows we intend to examine the elaboration of the biological notion of «teleonomy» through the writings of Ernst (...)
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  19. Temporary Blended: Why Ethics of Stasis Still Matters.Fabrizia Abbate - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):15-22.
    The etymon στάσις goes back to the Greek word ἵστημι, which means “to stay”: this ancient Greek verb denotes presence, spatiality, permanence. In these pages, stasis is the perfect word to describe the unusual dimension built all around us by the advent of the Covid pandemic during the lockdown months in our nation. Our daily movements and activities were stopped, we were forced to stay at home as a form of social distancing, or there were those who had the obligation (...)
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  20.  1
    The Idea of Substantive Arts.David Alvargonzález - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):135-151.
    The Spanish philosopher Gustavo Bueno coined the expression “substantive arts” to refer to those arts that do not serve any immediate, mundane or practical purpose. In this paper, I briefly present this idea and put forward a definition of the substantive arts as an alternative to those used until now. Starting from the assumption that since the end of the 18th century there has been a set of arts that have their own substantivity, I expound on certain criteria widely used (...)
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  21. Stets Seh’ Ich Mich Mir Winken, Dem Winkenden Entschweben. Robert Walser: To Disappear in Writing.Luigi Azzariti-Fumaroli - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):173-182.
    In Robert Walser’s work any intention of meaning would seem to be revoked in doubt, in favour of blatant mannerism. This, in turn, would take the actual form of a proclaimed abstention from the pursuit of any purpose, so as to be similar to a simple graphic texture. The aim of this article is to show how this peculiar textual economy favours the invention of a subject capable of giving rise to a fictitious identity to the point of no longer (...)
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  22. The Bureaucratic Rationalization. On the “Intelligent Stupidity”.Marcello Barison - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):117-124.
    Focusing on the problem of bureaucracy as a striking example of the ‘necessary stupidity’ that real-life forces us to tolerate, the philosophical meaning of Musil’s «intelligent stupidity» will be discussed. To a closer confrontation with the text, and with passages from Man Without Qualities that are particularly relevant to the theme of the relationship between stupidity and bureaucracy, a number of reflections will be anteposed in order to highlight how, by making the concepts of liberalism and bureaucracy react to each (...)
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  23. Rethinking Contact: The Haptic in the Viral Era.Valentina Bartalesi - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):23-36.
    The current pandemic emergency due to Covid-19 has profoundly changed our sensory habits. What role can be assigned to a synaesthetic perceptive modality like the haptic in this no touching pandemic period? This paper argues that the haptic specificity could go beyond the dialectic between touch and vision to focus on its phantasmagorical potentiality. In an attempt to grasp the relevance of this perceptive modality in the pandemic and post-pandemic scenario, this contribution will proceed in two directions. First, starting from (...)
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  24. Ricardo Ibarlucía, Belleza Sin Aura: Surrealismo y Teoría Del Arte En Walter Benjamin, Miño y Dávila, Buenos Aires 2020, Pp. 448. [REVIEW]Sol Bidon-Chanal - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):205-207.
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  25. Pandemic and the Fairy Tale Narrative.Dario Cecchi - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):37-43.
    The article considers how the narrative of the pandemic has been developed, especially with regard to literature. The case study analyzed is the Italian novel L’assemblea degli animali, written by an anonymous author, whose penname is Filelfo. The article shows that the wide range of classical, literary and artistic references recognizable inside the text corresponds to a precise attitude of the ecologist culture, which is in search for traditional and elevated models to assert their ethical and political objective. The novel (...)
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  26. Coronation.Michel Deguy - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):5-6.
    The lyric "Coronation" of Michel Deguy and its translation by Fabio Scotto.
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  27. Firefly. Aesthetics of Transition.Giovanni Ferrario - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):165-172.
    This essay starts with the assumption that philosophical practice is defined as an exercise of linguistic clarification. Whether in oral or written form, philosophy stems from the need to explicate and objectify the logós, formulating concepts. In the particular case of artistic practice, on the other hand, the signifier is more visible than the signified and the impermanence of objectivity is more clearly shown. In art, language is thus open to multiplicity and inexpressibility and the word is no longer logically (...)
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  28. To Brecht and Back. Notes on Clement Greenberg’s Avant-Garde and Kitsch.Camilla Froio - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):153-163.
    Clement Greenberg’s international reputation is partly due to the success of one of his first and most perceptive essays, Avant-Garde and Kitsch, published in the Fall 1939 issue of “Partisan Review”. Despite its unsurpassed importance, the article still requires a broader comprehension of its origins: according to Greenberg’s personal papers, the essay’s main concepts began to take form during the Winter 1939, when the author was involved in the drafting of a new essay on Bertolt Brecht, still unpublished today, at (...)
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  29. A Noble Anarchy. Musil and the Metaphor Between Spengler and Rilke.Giacomo Gambaro - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):125-134.
    This paper aims to examine the relationship between stupidity and massification in Robert Musil’s thinking moving from the speech Über die Dummheit. According to the definition of stupidity as a historical epidemic associated with emotions, I take into account the essays of the earlies twenties of the XX century, in which the author interrogates the connection between the “non rational sphere” and the nationalist identity in the context of civilization. To explain this connection, I highlight the centrality that Musil ascribes (...)
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  30. The Optical House of Tactile: The Bricolage-Like Response to COVID-19.Marco Innocenti - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):45-55.
    This paper aims to analyse how COVID-19 pandemic is changing our perception of reality. It starts looking at our situation from the point of view of Riegl’s distinction between optical and tactile, and then it compares the nature of the relationship between these two approaches to Lévi-Strauss’s description of bricolage. Our current world-view turns out to be not only an optic one, because the optical approach is just the means by which we can articulate a private and social life messed (...)
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  31. «The Limbs and the Wheel»: About Coronation by Michel Deguy.Michela Landi - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):7-14.
    On 13 March 2020, in the magazine Po&sie, which he founded, Deguy published a text entitled Coronation. Here, the reading of the contingent viral situation and certain concomitant events made use of his particular interpretative lens aimed at the poetic fact: the continuous exorbitance of the verbal matter from the confined space of the text, and the 'oppugnance' between its inside and outside, as a gift and its antidote. The twofold meaning of the lemma corona leads us back to the (...)
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  32. The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions. Ponimin & Guntur - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):81-99.
    This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in (...)
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  33. Social Control and Submission in Edward Bond’s The War Plays.Tahereh Rezaei & Asiyeh Khalifezadeh - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):183-199.
    Reading Edward Bond’s The War Plays in light of Theodor Adorno and Sigmund Freud, the writers of this article intend to investigate the interconnection between the mechanisms of social control and the psychology of submission. To this end, socio-political institutions in The War Plays, represented by the army and the state, are seen drawing on Adorno’s concept of identity-thinking, by which the cognitive potentials of the characters are systematically suppressed. Also, uninhibited aggression of characters will be discussed in view of (...)
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  34. Vaccine Selfie. The Double Face of Self-Representation in Covid-19 Era.Anna Chiara Sabatino - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):101-108.
    If at its beginnings the Selfie was interpreted as an expression of the narcissism of contemporary culture, at the time of Covid-19 not only does it become the ordinary mask of the show performed on the stage of social networks, but it acquires the power to act on the social body. The Selfie, therefore, can be characterized as an iconic two-faced act with contradictory and ambiguous intentions and outcomes. The contribution examines the case of the Vaccine Selfie, in this particularly (...)
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  35. Distance: Closeness/Remoteness in Kim Boske’s Photographs.Liga Sakse - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):71-80.
    The work Moving Flowers #1 by the internationally known Dutch artist Kim Boske was published in the first cover series HOU VOL of the periodical Het Parool on 30 May 2020. Following the aim of the newspaper to help cope with the disastrous consequences of COVID-19, the artist focused on how our perceptions had changed during the pandemic. If previously the content was the element that dominated in photography, then during the pandemic, the representational harmony of the content was replaced (...)
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  36. Alteration of the Touch Into a Gaze - Reading Through the Drawing.Sonja Šurbatović - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):57-69.
    Studying the touch as a sense developed by contact, and the necessity to redefine it, due to the global pandemic and social dissonance that occurred is the topic of this text. Questioning the approach to drawing under the influence of remoteness addresses the need to look closely, to get personal with the drawing, a manifestation of experience. Drawing of intimacy, evaluate concepts of encounter and isolation posing the question of whether we can experience the closeness of the other through the (...)
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  37. The Defied Spirit. Subjective Stupidity and Objective Intelligence.Francesco Valagussa - 2021 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 14 (1):109-115.
    The present article analyses the different forms of stupidity as they are presented in the two renowned lectures held by Musil in 1937, in particular by trying to connect them to some passages from The Man Without Qualities. Stupidity cannot be reduced to a simple “inability to understand”. It becomes the symptom of a wider crisis involving the whole European tradition: a crisis of trust in human nature that ends up compromising every possible overall vision about culture and life. Valéry (...)
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