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  1.  7
    «Être comme tout le monde». Per un’archeologia classicista del mimetismo sociale.Giancarlo Alfano - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):123-137.
    During the so-called Ancien Régime, the «Process of Civilization» consisted in an education of the body and the language resulting in what we still call politeness. Being polite was to be politum, that is to say clean of any element not corresponding to an average condition. Such process tended to make equal all polite men, those who shared the same ideal of honnêtété. But, if all honnête-hommes had to be equal, or better identical, then identity resulted in the condition of (...)
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  2.  4
    Il camouflage nel campo allargato. Variazioni su Disruptive Pattern Material e Dazzle Painting nella cultura visiva contemporanea.Maite Méndez Baiges - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):43-58.
    The First World War was the scenario that led to the invention and systematic use of military camouflage techniques. Between them, the two fundamental modes of static or pictorial camouflage: mimetic, known as Disruptive Pattern Material, and the naval, called Dazzle Painting. Avantgarde artists contributed to their birth. Immediately, there was the transfer of these techniques to the civilian sphere, revealing that its essentially practical essence did not prevent the exploitation of its aesthetic potential by contemporary visual culture. Throughout the (...)
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  3.  5
    Setting the Stage for Deception. Perspective Distortion in World War I Camouflage.Roy R. Behrens - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):31-42.
    During World War I, in response to substantial advancements in wartime surveillance, it became a common practice to rely on “vision specialists” to devise effective methods of fooling the enemy. These methods, collectively referred to now as camouflage, were designed by so-called camoufleurs, men who in civilian life had been trained as artists, graphic designers, architects, and theatre scenographers. Among the techniques they employed were perspective-based spatial distortions, of the sort that are also frequently used in theatrical set design, trompe (...)
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  4.  4
    Protée et Caméléon. Mimétismes, calembours harmoniques et dissociation des formes dans la musique de la Renaissance.Brenno Boccadoro - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):89-121.
    In the realm of language a special case of mimetic illusion is the calembour, where the sound of a phrase signifies something else than what is written. At the end of the XVI century the artistic expression of this phenomenon gave birth to the paintings of Arcimboldo, who separated the contour of an object form the linear organization of the surface, in order to feature another object, through a kind of “polyphonic” dissociation between meaning and form. Strangely enough, nothing has (...)
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  5.  4
    Animal Flicker.Érik Bullot - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):71-79.
    Leafing a book quickly creates metamorphoses of its images and illustrations. Cinema as a medium is based on such visual discontinuity. Both Paolo Gioli, the Italian filmmaker, and Stan Brakhage in America, made very interesting flicker films with and about insects and butterflies : Farfallìo and Mothlight. Is the buttefly miming the filmic device? To what extent has a film to disguise its mechanism? What is the relation between animation and the animal? I intend to scrutinize the link between flicker (...)
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  6.  4
    Through the Flat Canvas: The Motor Meaning of Realistic Paintings.Silvano Zipoli Caiani - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):197-217.
    It is well known that common objects in the environment can evoke possibilities of action, but what about their bi-dimensional representation? Do pictures or paintings that represent action-related objects evoke the same possibilities of actions of the objects that they represent? In contemporary cognitive science, there are two contrasting views on this issue. On the one hand, the ecological-dispositional approach to perception supports the idea that viewing depicted objects as endowed with the potential for action is nothing but an illusion. (...)
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  7.  4
    Foreword.Pietro Conte, Filippo Fimiani & Michel Weemans - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    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 (...)
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  8.  27
    The Quest for “Authenticity”. Three Performances of a Bach’s Fugue Compared.Tiago Morais Ribeiro de Sousa - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):177-196.
    This paper is meant as a contribution to the general issue of authenticity in musical performances, an issue often debated at a rarefied, speculative level, by introducing a comparison between three case studies consisting of the performative choices in three renown recordings of performances of Bach’s Fugue BWV 1000: two on the classical guitar and one on the lute. This approach allows us to pursue in greater detail the tacit aesthetic and ontological underpinnings of such options. Finally, I use the (...)
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  9.  4
    Clement Greenberg e la Halakah del Modernismo.Camilla Froio - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):155-175.
    The understanding of the meaning of Jewish identity in Clement Greenberg's work follows the deep relationship between the conception of Modernism and the interpretation of Franz Kafka's short story The Great Wall of China. Greenberg, whose role as one of the first american popularizers of Kafka's narratives has been relevant, ascribes to the bohemian author an halachic reasoning closely related to his jewish origins. This strictly firm and normative mindset finds resemblances in Greenberg's modernist theory and critical practice, which, according (...)
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  10.  4
    Reflections on Imitation, Vocal Mimicry, and Entrainment.Anton Killin - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):81-87.
    It is my contention that understanding natural phenomena such as vocal mimicry can bolster theories of the evolution of language and music as well as inform evolutionary and naturalistic aesthetics more generally. In this commentary I present this phenomena as a case study in order to stimulate further aesthetic theorising.
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  11.  6
    Mimicry, Ekphrasis, Construction. «Reading» in Freudian Psychoanalysis.Markus Klammer - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):139-151.
    The essay explores the concept of interpretation in Freudian psychoanalysis as an act of reading. Freud understands the appearance of dreams and unconscious phantasies in analogy to the structure of perceptual images. On the one hand, he conceives of the patients’ verbal accounts of those images as a specific kind of ekphrasis. On the other hand, the images themselves are regarded as distorted versions of an underlying »dream text« rendering the fundamental desire that the images express and conceal at the (...)
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  12.  4
    L’estetica del camuffamento animale. Riflessioni sul mimetismo biologico.Valeria Maggiore - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):17-30.
    This article wants to investigate the logic of mimicry and their communicative function in animal life adopting an aesthetical perspective. The relationship between appearance and not-appearance, between the act of making itself visible and the act of disguising itself, is investigated starting from the morphological thought of the Swiss biologist Adolf Portmann, in a continuous dialogue with great thinkers of past and actual time – Johann Wolfgang Goethe, Hannah Arendt and Roger Caillois – and with the artistic illustrations of the (...)
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  13.  7
    Aesthetics of Fake. An Overview.Andrea Mecacci - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):59-69.
    The word «fake» and its several synonyms touch on a number of ontological and mimetic issues that since Plato have led directly to contemporary debates. In the present survey we will try to outline a «grammar of fake» through three points: a) the issue of pseudos in Plato and its impact on contemporaneity; b) the notion of hyperreality as absolute fake; c) the dimension of operative fake, grasped in its postmodern enucleation.
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  14.  4
    Camouflage élargi. Sur l’individuation esthétique.Bertrand Prévost - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):7-15.
    Animal camouflage is said to be a mode of being negative, implying a setback visibility. On the contrary, we try here to restore all its aesthetic positivity considering the singularity of extremely varied forms it produces. It soon becomes apparent that the camouflage forces us to question the privilege of individuality and traditional drawdown on singularity. The disruptive camouflage, especially, that crushes the individual formal unity provides the argument in favor of an individuation with the environment, and more with the (...)
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  15.  4
    Copie che sono solo la mia.Luigi Trucillo - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):153-154.
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  16.  9
    The musical work in cyberspace: some ontological and aesthetic implications.Alessandro Arbo - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):5-27.
    The article examines some of the consequences of the migration of musical works in cyberspace, particularly with regard to their ways of being and the ways in which we listen to them. Streaming is interpreted as the last stage in the expansion of a phenomenon that arose with the advent of phonography, namely, the ubiquity and availability of the works. A new development consists in the production of musical units in modular terms: works can consist of independent parts, which can (...)
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  17.  10
    Foreword.Alessandro Arbo & Fabrizio Desideri - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):3-4.
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  18.  11
    Performances Compared. Sequential Replication of the Same Music Piece on an Audiovisual File.Giorgio Armato - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):87-95.
    In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity of the music piece (...)
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  19.  7
    Plato on the Stream. Platonism in the Age of Streaming.Frédéric Bisson - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):29-49.
    This article defends a Platonist view of streaming. It is opposite to the mainstream representation that streaming has “liquidated” the structure both objective and collective of musical experience. On the contrary, streaming is the support of a new kind of musical object, which is distinct both from the allographic notational objects and from the phonographic ones. This third kind of object has to be characterized as a flux-object. The way it is diffused and accessible implies a new kind of experience. (...)
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  20.  17
    Intermittency: The Differential of Time and the Integral of Space. The Intensive Spatiality of the Monad, the Apokatastasis and the Messianic World in Benjamin's Latest Thinking.Fabrizio Desideri - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):177-187.
    The main topic of my paper concerns the theological-philosophical nexus between the intensive and qualitative spatiality of the Monad and the Origenian idea of Apokatastasis as a nexus that can clarify Benjamin's latest idea of the Messianic World. The first step will be, therefore, to explain Benjamin's use of the Origenian notion of Apokatastasis in his Essay on Leskov and in the Passagenwerk. Secondly, I will discuss how and to what extent such use is relevant for Benjamin's idea of Messianism. (...)
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  21.  13
    Perspective and Spatiality in the Modern Age.Fausto Fraisopi - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):115-133.
    the domain of Art critique and becoming a philosophical argument. How can we think of Perspective as symbolic Form? Is Perspective really a symbolic form? Why is Perspective so important? Because at the beginning of the Modern Age, Perspective as spiritual figure grounds many symbolic or even many scientific constructions. We could we say that perspective open the foundation of modern science as such. The “Geometrization” of Vision, beginning with perspective, will be for us the interpretative key in order to (...)
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  22.  10
    Listening to Music in the Digital Era.Giacomo Fronzi - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):51-69.
    In this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the category of the so-called “technological music”; the second concerns the listening modes unavoidably involved in the reception of a music product, due to its very nature. To this end I shall focus my attention on some elements (...)
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  23.  10
    Apple Music. La fin de l’histoire?Stéphane Gasparini - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):97-114.
    Will streaming have a “feedback effect” on musical creation, comparable to the one enforced by the precedent distribution modes of musical contents? In other words, could it be compared to the one generated by the invention of 45rpm vinyl record or 33rpm LP linked to the “concept albums” from the seventies, or even CD and DVD? I will use the description of “Apple Music”, the new Apple streaming site, to demonstrate that the innovations brought along with this site clearly evince (...)
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  24.  10
    Benjamin, Desnos et la place d’Atget dans l'histoire de la photographie.Ricardo Ibarlucía - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):135-151.
    This paper confronts the interpretations of Eugène Atget’s photography given by Robert Desnos and Walter Benjamin. In the first part, it discusses Atget’s reception among the surrealists, particularly his relationship with Man Ray and the publication of some of his views from Paris in Littérature and La Révolution surréaliste. The second part is focused on the paragraphs that Benjamin has devoted to Atget in “Short history of photography” and "The work of art in the age of its technological reproductibility”. Finally, (...)
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  25.  9
    Fisiologia del gesto. Fonti warburghiane del concetto di Pathosformel.Jessica Murano - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):153-175.
    This article investigates the nineteenth-century notions of expression and mimicry in natural science. It will focus especially on Aby Warburg's concept of Pathosformel. My archival research at the Warburg Institute in London showed that Warburg was interested in Paolo Mantegazza’s theories about mimicry and expression. A prominent physician and anthropologist, Mantegazza developed the views that Charles Darwin expressed in his work The expression of the emotions in man and animals. In this paper I will explore how mimicry can perform an (...)
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  26.  11
    Skipping the Tracks. The Experience of Musical Improvisation Online.Roberto Zanetti - 2016 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):71-86.
    The present article aims at analyzing the social and ontological effects of listening music online, with particular attention to the artistic practice of improvisation. In the first paragraph, I will briefly explain the essential concepts which ontology of music has traditionally counted on, and I will suggest an alternative theoretical approach, that I define as ontology of musical act. Then I will investigate the relation between recording practices and improvisation. In the final paragraph I will compare some features of musical (...)
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