A long philosophical tradition has claimed the fact that the concepts of physis and techne should remain radically distinct. But an equally important tradition has instead considered the question in less abstract terms. What can encourage us to rethink the question of hylomorphism is the radical rethinking of the terms at stake. How should the relationship between matter and form be thought? How should the distinction between natural form and artificial form be considered? The attempt that is proposed here is (...) to consider art as the conceptual mediator that holds together a morphological determination of nature and a technical determination of art. ‘Artificiality’ should not be understood as the opposite of ‘naturalness’: art here means the possibility of thinking of techne already at work in nature, justifying the sense of a coming hylomorphism. (shrink)

This contribution proposes to reflect on a different way of considering the link be-tween temporality and nature, between aiôn and physis, in dialogue with the words and works of the Italian sculptor Giuseppe Penone. The basic idea is the following: we will not be able to essentially determine our cognitive and experien-tial relationship with nature, until we are able to know, experience and represent the time inscribed in being itself. The philosophical tradition has developed its conception of temporality mainly along (...) two lines: a “cosmic” line, of a physical, objective temporality, and a “phenomenological” one, of a temporality as an in-ternal articulation of human consciousness. Through the archaeological and conceptual excavation carried out by Penone, we will ask ourselves what it does mean to take care of the “subjective time of things”. (shrink)

This contribution thematizes the Gadamerian legacy in the context of the Italian philosophical debate, attempting to understand whether this debate can contribute to rethink the vitality of the hermeneutic tradition and the future of its possible developments. When, in 1972, Gianni Vattimo, one of the key figures in contemporary Italian thought, published his seminal translation of Truth and Method, Gadamerian themes began to circulate, in Italy, based on a specific interpretation: The Italian hermeneutic debate received the project of Truth and (...) Method as a kind of philosophical defense of the humanistic tradition. As the inventor of the "weak thought," Vattimo defended the idea that the 'weakening' of the project of the world's scientific rationalization could enhance other experiences related to truth, namely humanistic, artistic, literary, and religious ones. Just like then, the triumph of scientific rationality and calculative thinking places contemporary hermeneutics in front of a daunting task. One must ask whether hermeneutics, in order to remain faithful to the Gadamerian project, should remain essentially a project of metatheoretical foundations of textual interpretation, endowed with a historically and linguistically informed approach, or it should rather radically rethink its relationship to the problem of 'method.' To avoid this deflation of the Gadamerian tradition, one possible way forward is to orient hermeneutic research toward a 'hard' and philosophically grounded idea of objectuality/objectivity, but at the same time not methodologically sterile, that is, not flattened on the methods of the 'hard sciences'. (shrink)

The article examines the relationship between Western and Eastern aesthetics, analyzing some aspects of the musical production of Tōru Takemitsu, the great Japanese composer, now firmly included in the contemporary music “Western Canon”. The article tries to demonstrate that contemporary music represents an ideal field for verifying the intersection between Western and Eastern aesthetics. It is precisely the paradoxical co-belonging of Takemitsu’s musical thought to both worlds, which encourages us to reconsider our way of understanding the aesthetic “distance” between East (...) and West. Contemporary music represents the privileged place, to verify the idea, that such cultural distinctions are indeed relevant, but only to the extent that they should be transcended in a higher unity, in a “hypercultural” space. Within this space, the differences find their “place”, but also their reciprocal translatability. Takemitsu’s writings record the incessant oscillation between the great Western musical, aesthetic, poetic tradition, and the specifical Japanese cultural tradition. The names of Debussy, Messiaen, Nono, Feldman, Cage stand alongside those of Basho and Zeami, in an aesthetic convergence that is a prelude to a truly “global” aesthetic. The path proposed here analyzes this convergence, retracing, in Takemitsu’s production, three fundamental “figures”: silence, trees, and rain. (shrink)

Qual è il limite etico e deontologico degli studi medici sperimentali? Quando il principio di beneficialità, che vincola il medico a perseguire il massimo bene per il paziente, è finalmente diventato l’essenza della medicina? Questo volume si propone di rispondere a queste e a molte altre domande, effettuando un’analisi critica e approfondita della medicina, quale scienza della morte, praticata durante il periodo nazista al fine di raggiungere la purificazione della razza; la cosiddetta eugenica nazista, fulcro dello sterminio dei disabili e (...) delle sperimentazioni selvagge condotte sui detenuti nei lager. La struttura del volume, articolato su più saggi scritti da esperti, unitamente alla scelta di uno stile ampiamente divulgativo, ne aumenta la fruibilità. Presentazione di Eugenio Gaudio, rettore magnifico della Sapienza università di Roma. Saggi di Emmanuel Betta, Marina Caffiero, Francesco Cassata, Marco Cilione, Gilberto Corbellini, Silvia Cutrera, Serena Di Nepi, Francesca Di Palma, Fabio Gaj, Damiano Garofalo, Valentina Gazzaniga, Umberto Gentiloni Silveri, Enrica Marchionni, Silvia Marinozzi, Livia Ottolenghi, Libera Picchianti, Antonio Pizzuti. (shrink)