The main experiments concerning the Aharonov–Bohm phase shifts, seen in an electron interference pattern, and their Boyer semiclassical explanations are reviewed. A new experiment is also presented which emphasizes the subtleties involved in the interpretations of the magnetic Aharonov–Bohm phase shift as a result of a non-dispersive or dispersive effect.

By taking seriously an Adornian suggestion, according to which art should be understood as something that “has become what it is”, the main purpose of this essay is to provide an essential reconstruction of Adorno’s aesthetic program. The latter places art within a curve, or constellation, that has the experience of the “shudder” as its anthropological beginning and an ending corresponding to the current context, characterized by the widespread diffusion of the aesthetic dimension (thanks to the “logic” of fashion). Our (...) reconstruction aims to suggest that critical theory is fatally inclined towards this aesthetic constellation as a whole, and therefore it deserves today special attention by virtue of a parallelism with the aestheticizing developments of late-capitalism. As a consequence, Adorno may be considered a (critical) philosopher of globalization, insofar as his theory is aesthetic in a pregnant sense. His aesthetic constellation might in fact encompass the constitutive elements, or at least some essential elements, which are useful to bring the “aesthetic form of life” to the fore. (shrink)

In order to grasp the link between the “natural” and the “historical” that characterizes the reality of art, this paper aims to an examination of the concept of “artistic field” in contrast with “art world”. The notion of field reflects the dynamical status of the reality of art as institutional process, that roots in the sociological and anthropological experience of human being in his interaction with his environment. The analysis of this interaction carried out by Pierre Bourdieu and Arnold Gehlen (...) shows how an institution such as art arises as stabilization of nature and “habitualization” of experience structures which are operating already at the level of perception and which culminate in the praxis of figuration. This means that an artistic field implies an historical and material (rather than formal) apriori, that the notion of “art world” tends to hide and to repress. (shrink)

1. Fino a qualche decennio fa l’estetica rappresentava l’approdo vagheggiato da filosofi insofferenti nei confronti del sistema socio-culturale vigente oppure nei confronti dell’intera metafisica occidentale. Penso a Marcuse e ad Adorno, ma anche a chi ha intravisto nel gioco nell’arte la matrice della rivelazione dei più essenziali misteri dell’essere. I tempi sono cambiati. Se siamo qui a interrogarci sul futuro dell’estetica, essa quanto meno non appare più l’approdo utopico di allora. epp...

This paper aims to outline the importance of Valéry with respect to some cornerstones of Adorno’s aesthetic theory as a negative-dialectical thought. Adorno’s concept of aesthetic experience finds in Valéry as an “Artist” (not simply as a “Künstler”) a sort of lieutenant: he helps to specify notions like “apparition”, “form”, “configuration”, and above all the idea of the aesthetic as a relation by which something happens in the field of human experience without being a determinate, or determinable, content of it.

What is alike between aesthetic and linguistic? And what is basically unlike? This paper focuses on this ambiguous relation in order to point out how the aesthetic expressiveness is an original one. And it's from the point of view of the dialectical nexus between aesthetic experience and language that interesting suggestions are drawn here from different authors (Adorno, Borges and the Italian novelist Luigi Meneghello).

This paper focuses on the notion of experience, whose conceptual analysis seems to be often neglected or at least not sufficiently made explicit in the current discourse on Everyday Aesthetics. In our investigation this notion will be tackled, in particular, through the lens of such concepts as Erlebnis, Erfahrung, and Lebenswel t, which are drawn from the continental philosophical tradition. Purpose of the paper is to present a provisional framework aimed at clarifying that a more accurate conceptualization of experience allows (...) for a better contemporary reflection on the aesthetics of everyday life. (shrink)

This paper focuses on the notion of experience, whose conceptual analysis seems to be often neglected or at least not sufficiently made explicit in the current discourse on Everyday Aesthetics. In our investigation this notion will be tackled, in particular, through the lens of such concepts as _Erlebnis, Erfahrung_, and _Lebenswel_t, which are drawn from the continental philosophical tradition. Purpose of the paper is to present a provisional framework aimed at clarifying that a more accurate conceptualization of experience allows for (...) a better contemporary reflection on the aesthetics of everyday life. (shrink)

This papers aims at showing how Dewey’s legacy can contribute to better understand the correlation between the problem of meaning and the description of the aesthetic in the framework of a specifically enactivist approach to the model of the extended mind. My thesis is that Dewey’s characterization of this issue has a general theoretical import in that it makes it inappropriate to speak of “aesthetic meanings,” or even of “meanings of the aesthetic.” It instead highlights the aesthetic character of meaning (...) as such, that is, how an experiential phenomenon can be meaningful insofar as it is characterized in an aesthetic sense. Accordingly, we will speak here of “aesthetic meaningfulness.” To this extent, after a comparison between Dewey and Quine about the “praxis of meaning,” a dialogue will be established with two recent perspectives openly informed by Dewey’s work: Mark Johnson and Shaun Gallagher’s. (shrink)

The first Aisthesis’s Special Issue collects the contributions to the conference “Riconcepire l’estetica. Prospettive a confront” that have been held in Florence in February 2012, organized by “Aisthesis”, “Rivista di Estetica” and “Seminario permanente di estetica”(SPES) in the perspective to contribute to a radical reconfiguration of conceptual domain of aesthetics.

In order to investigate the possibility to develop Wittgenstein's suggestions about aesthetics, this paper will focus on the organic perspective elaborated by Richard Wollheim in «Art and Its Objects». In this regard we will try to emphasize how the concept of art as a "form of live" - explicit in Wollheim - involves the analysis of the practices embodied in the experience of art starting from those of representation. The inception modes of such practices of representation need to be described (...) in the use of specific anthropological abilities related to perception patterns that go beyond the mere statement of facts, in a fusion among aesthetic, cognitive and emotional levels. Deepening the relationships both between lived experience and expression, and expression and understanding, we will try to point out how Wollheim (and Wittgenstein) places any rhetoric of the ineffable out of the game, even regarding the analysis of the aesthetic experience. (shrink)