Art, imagination and (technical) creativity in the philosophy of Emilio Garroni

L'articolo ripercorre il concetto di creatività proposto da Emilio Garroni dal punto di vista delle sue connessione con la dimensione tecnica

Immaginazione, schematismo e prestazione estetica. Linee di ricerca in Italia tra filosofia e neuroscienze

The article offers a first survey on the studies concerning imagination in an aesthetic and cognitive perspective in Italy in the last two decades. From the aesthetic point of view, the research is focused in particular on reconsidering the imaginative function of organizing the sensible matter of perception, thus making it available to the subject’s experience – it is the process Kant called “schematism”. The recent aesthetic studies in Italy make new forms of schematism emerge, from the “free schematism” (Garroni), inspired by Kant’s aesthetic judgment, to the “interactive schematism” (Montani), which accounts for the interactions both the environ and the new technologies, up to the overlapping between schematism and “attention styles” of the mind (Desideri). Though influenced by the Kantian heritage, the Italian philosophy was able to confront with various traditions, from the English-speaking philosophy, especially that inspired by Wittgenstein (Borutti), to the German and French Phenomenology (Carbone, Franzini), up to the recent anthropological trends, resulting from different lines of thought: Pragmatism, Neo-Kantism, visual studies, biology and so on (Matteucci, Pinotti, Tedesco). The new field of research called Neuroaesthetics, emerging at the intersection of psychological aesthetics, neuroscience and human evolution, has been recently discussed and developed in Italy, especially regarding the implications of the discovery of mirroring mechanisms and embodied simulation for empathetic responses to images in general, and to works of visual art in particular (Gallese)

Percezione enattiva e operare artistico. Osservazioni a partire da Alva Noë

The paper is concerned with arguing the existence of a relationship between the enactive theory of perception and aesthetics. One of the leading figures in the theory of enactment, Alva Noe, pointed out that the works of art constitute one of the keys to understand how perception and cognition realize their enactment onto reality. Art objects are, in fact, a very peculiar case of artefacts since they are considered as being able to quicken the living beings’ organization in their interaction to the world. Do they create a different atmosphere? Do they “furnish” the surrounding habitat with new meanings? The paper argues that these are, of course, fundamental elements in the art’s action onto reality. As far as the subjective enactment of perception is concerned, together with power in designing life organization, art has arguably another original functions, that of building new “environs” where experience can meet reality under a different light and thus prepare the field for other creative contributions, both cultural and technological

Il belluscone

The paper analyses a movie recently appeared in Italy, Belluscone (2014) by Franco Maresco. The title refers to the deformation of Berlusconi’s name in Sicily. The movie does not speak, however, of the typically Italian “hero” Berlusconi, but of “Belluscone” that is the link for a common feeling whose Sicily is an exemplary case. Through the reference to Lyotard and Jauss among the others, the aim is to show that “Belluscone” is no longer a symbolic disposition, and becomes a sensible surface of contact to which everybody connects in order to have an experience. With its Baroque and ambiguous investigation of “bellusconian” Palermo, the movie makes no exception

L'immagine-gesto. Note su immaginazione, gestualità e cinema

L'articolo tenta di ripensare l'immagine cinematografica, riprendendo la lezione dell'estetica kantiana da una duplice prospettiva: quella di Emilio Garroni e quella di Giorgio Agamben

Il sublime, o dell'esponibile

The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter

La creatività digitale: ripensare una categoria estetica

L'articolo propone una rilettura del concetto di creatività alla luce delle nuove tecnologie digitali

Hannah Arendt. Crises de l’État-nation. Pensées alternatives

Traduit de l’italien par Patrizia Rafat. Du 16 au 18 novembre 2006, a eu lieu à l’université Paris-VII un important colloque sur la pensée de Hannah Arendt, intitulé Crises de l’État-nation. Pensées alternatives. Le colloque s’est déroulé dans le cadre de la Journée mondiale de la philosophie, promue par l’Unesco, et des célébrations pour le centenaire de la naissance d’Arendt. Le Centre de sociologie des pratiques et des représentations politiques (CSPRP) de l’université Paris-VII, qui a org..