\u201cMind the gap\u201d. L\u2019improvvisazione come agire intenzionale

n this paper I aim at discussing the following questions: is improvisation an intentional action? If it is an intentional action, in what sense is improvisation intentional? Can improvisation contribute to the understanding of intentional action? I will argue that improvisation is not a bizarre case of action or a weakened action, but an intentional action in the proper sense (provided with some specific properties). Moreover, improvisation exemplifies key features of intentional action as such

Valore e autonomia dell'improvvisazione. Tra arti e pratiche

1In this paper I accept Georg Bertram’s criticism against what he calls the “autonomist paradigm” in philosophy of art and I will follow his theoretical suggestion: a coherent, informed, and accomplished philosophy of art should consider not only the specific nature of art, but also its value for the human practices and as one of the human practices. However, I show the connection between human practices and art in a different, although related, way. Instead of beginning from a reflection focused on art, I rather move from the human practices, showing that “art” may be a particular way to look at and to develop human practices. I argue that the theoretical link between human practices and art can be provided by the notion of improvisation. Improvisation is not only a particular artistic technique. Rather, improvisation can be more generally understood as the paradigm of art, in the interesting sense, defended by Bertram, of incorporating and showing in a genetic way, on the one hand, the autonomous art specificity and, on the other hand, the value of art, that is, the link between human practices and art as a specific human practice. In this sense, art (as specific human practice) both derives from and is a particular way to improvise (upon) the human practices, i.e. to develop them in ways that can be valuable (both in general and artistically or aesthetically). Accordingly, improvisation as a specific artistic procedure, will be understood as that kind of artistic production in which the human practice underlying art comes, as it were, to the fore.openopenBertinetto, AlessandroBertinetto, Alessandro Giovann

Moral Concerns About Artistic Activity

A large part of the contemporary debate on art and morality is over the behavioural consequences of consuming artworks, the dependence or the independence between the aesthetic and the moral value of artworks, and whether ethical flaws or merits of artworks should also be considered as aesthetical flaws or merits (and viceversa). Here I will focus on a different, although related, topic. I will consider whether artists have duties towards art itself, as Luigi Pareyson argued in his Estetica. Teoria della formativit\ue0 (1954). In other words, I will raise the question whether the pursuit of artistic success requires, entails, or can result in a kind of moral stance towards artistic endeavour. I will suggest that the notion of authenticity not just as an obligation or a duty, but rather as a virtue, may be useful at this regard

A ontologia performativa de Fichte

Que contribui\ue7\ue3o a filosofia de Fichte pode dar \ue0 ontologia? Fichte posicionou-se claramente contra a ontologia enquanto descri\ue7\ue3o dos entes, isto \ue9, contra a ontologia descritiva. A doutrina da ci\ueancia desenvolve pois uma ontologia prescritiva que pode ser entendida como um tipo de \u201contologia performativa\u201d

Gombrich, Danto, and the Question of Artistic Progress

The question Iam concerned with is the relevance of the notionof progress in the artistic \ufb01eld.Does the notion of artistic progress apply to art and,in the case it does,in what sense and how?In order to answerthis question Iwill discuss Ernst Gombrich and Arthur Danto\u2019s view of artistic progress (\ua7\ua7 2-3).Then,following the objections that the Spanishphilosopher Gerard Vilar recently raised against Danto\u2019s ideas on the endof art (\ua7 4),Iwill suggest a modest view concerning the requirements a theory of artistic progress must satisfy (\ua7 5)