Aisthesis. Pratiche, linguaggi e saperi dell’estetico最新文献

{"title":"Messianism and Happiness in Walter Benjamin’s Theological-Political Fragment","authors":"Tamara Tagliacozzo","doi":"10.36253/aisthesis-13117","DOIUrl":"https://doi.org/10.36253/aisthesis-13117","url":null,"abstract":"On the basis of a citation from the final part of Walter Benjamin’s Theological-Political Fragment (1920-21), we shall hypothesize a similarity between Benjamin and Kant, the political thinker and philosopher of history, in his Idea of a Universal History with a Cosmopolitan Intent. According to Kant, the man who participates in history and in the human race seeks happiness and the means to procure it for himself as a member of «free» humanity, thus seeking to unify external freedom and happiness in institutions of law. During the period 1920-1921 Benjamin was strongly critical of the concept of law, including also that of Kant, which he saw as contradictory to the idea of justice; in opposition, Benjamin held first an anarchist-libertarian view, then a revolutionary one. From a dialectical perspective, however, we find in common in Benjamin and Kant a redemptive pessimism that foresees, in the «twisted wood» of mankind, an ultimate providential and messianic possibility: «The spiritual restitutio in integrum, that leads to immortality, correspond to a worldly restitution that leads to an eternity of downfall, and the rhythm of this eternally transient worldly existence, transient in its totality, in its spatial but also in its temporal totality», the eternal succession of generations and their institutions, which is «the rhythm of messianic nature», is happiness. Nature eternalizes itself in this virtual spatial and temporal totality in the history of humanity moving toward the realization of the idea of law and, spatially, the achievement of global, cosmopolitan politics: «nature is messianic by reason of its eternal and total caducity».","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124482137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Individuation, Art and Interactivity Starting with Gilbert Simondon","authors":"Saverio Macrì","doi":"10.36253/aisthesis-13203","DOIUrl":"https://doi.org/10.36253/aisthesis-13203","url":null,"abstract":"The aim of the article is to show the fruitfulness of Gilbert Simondon’s theory of individuation as a tool for analysing the aesthetic-artistic experience made possible by new technologies. Interactivity is the category to qualify those works based on computer systems whose form is determined by the intervention of the user or by signals coming from the environment. The reflection under the profile of aesthetics has long since begun to reckon with Simondon’s thought, developing his analyses on the mode of existence of technical objects. Here we intend rather to show how the concepts and expressions at the centre of his theory of individuation are also rich in ideas for the study of an aesthetic-artistic experience in which the category of relation assumes a constitutive value and in which the processual aspect of the artwork prevails over its object dimension. ","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125682900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eating Local as Public Art","authors":"A. Borghini, N. Piras","doi":"10.36253/aisthesis-13449","DOIUrl":"https://doi.org/10.36253/aisthesis-13449","url":null,"abstract":"In this paper, we bring together two unrelated strains of recent literature on eating local, which have respectively evidenced its socio-political and artistic values. Our argument contends that eating local can, in some instances, be regarded as a form of public art. Our study improves our understanding and appreciation of the complex web of culinary values linked to eating local, in particular the entanglement between its aesthetic, political, and cultural significance. We first review three extant definitions of eating local (§ 2), which we then employ to discuss the three specific forms of public art that eating local can occasion (§ 3), namely: memorial art, social protest art, and art that enhances. Finally, we present the links between the three approaches to local food and the three forms of public art (§ 4), providing a heuristic framework for both scholars and stakeholders. ","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131597195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Escaping the Metaphysics of Fate/Fact. Comparing Spengler and Adorno","authors":"Attilio Vincenzo Bruzzone","doi":"10.36253/aisthesis-13621","DOIUrl":"https://doi.org/10.36253/aisthesis-13621","url":null,"abstract":"The Decline of the West belongs to that group of controversial books that have been more attacked than actually and properly read. Today, in deference to the myth of de-ideologisation, that polemical charge has diminished considerably. Nevertheless, Spengler is still topical, especially following the recent political and economic-health crises that evoke the «spectre of decline». From a critical perspective, Adorno was the first to acknowledge Spengler’s topicality and superiority to numerous liberal-progressive opponents. For its part, this current essay, via an ancipital impulse to critique and salvation, aims at exploring Spengler’s idea of fatal/factual decline by unmasking its aporias and ambiguities through comparing it to Adorno’s «silent and questioning utopia», dialectically preserved «in the image of decadence». Through this close comparison and the development of Adorno’s critique, the paper urges to unveil, on the one hand, the “true” – negative – aspects of Spengler’s legacy and, on the other hand, the «forces», hidden from his «attentive gaze», that are «set free in decay». Ultimately, in the no man’s land between decline and utopia, Spengler and Adorno meet and their legacies intertwine. ","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134228248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Nanjing Massacre Memorial and Angelus Novus: Ephemera, Trauma, and Reparation in Contemporary Chinese Public Art","authors":"A. Baldini","doi":"10.36253/aisthesis-13581","DOIUrl":"https://doi.org/10.36253/aisthesis-13581","url":null,"abstract":"What is the nature of memorials? Traditionally, memorials have been conceptualized as lasting entities preserving memories of our shared pasts. This paper challenges this view. My aim is to retheorize our practices of memorialization by examining the role that ephemerality plays in experiential memorials. Rather than fixed structures of meaning, experiential memorials are unstable careers whose significance depends on viewers’ performative engagement. I provide evidence for my thesis by developing a critical interpretation of Qi Kang’s Nanjing Massacre Memorial Hall (NMMH) as an example of experiential memorial. The fragmented nature of the here and now frees visitors’ experiences. Like the wind propelling Benjamin’s Angelus Novus into future and progress, the ephemerality of NMMH’s experience unchains its significance from the constriction of dominant narratives of vengeance and resentment. If liberated temporally, the experience of memorials may help us not only to never forget, but also to find reconciliation.","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130269494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Community gardens as public art","authors":"M. Salwa","doi":"10.36253/aisthesis-13658","DOIUrl":"https://doi.org/10.36253/aisthesis-13658","url":null,"abstract":"The aim of the article is to discuss community gardens as works of public art. Even if artistic status of gardens has been widely recognized, it is usually taken into account when historic gardens and parks or works of contemporary landscapes architects are concerned. However, there are good reasons to approach community gardens as artworks, as well. First, aligning community gardens with contemporary art is honorific, in the sense that it shows that they may be considered in another way than seeing them only as vernacular art, significant because of its social and political dimension. Second, in spite of their allegedly edenic character, community gardens are very often contested spaces, while the conflicts may be sparked by, among other things, the community garden aesthetics. In order to recognize community gardens as art it is useful to refer to new genre public art and not to “paradigmatic arts” such as architecture or painting. \u0000 ","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133186905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Foreword. Public Art and Aesthetics","authors":"A. Andrzejewski, A. Mecacci","doi":"10.36253/aisthesis-13832","DOIUrl":"https://doi.org/10.36253/aisthesis-13832","url":null,"abstract":"The growing number of various interventions and artistic activities in the public sphere has been gaining momentum in recent years. This state of affairs can be seen in at least two – related  – tendencies. Rapid urban development, gentrification, constant tension between the private and public spheres, and the need for sustainable growth provide an opportunity for public art to address issues that have not been addressed to the proper extent before. On the other hand, growing discontent, a sense of injustice and the threat caused by painful economic crises, seem to be the inevitable climate catastrophe, social inequalities and – referring to the very current situation – the Covid-19 pandemic and the unimaginably brutal war in Ukraine, make public art one of the ways of political and social manifesto. \u0000Public art, traditionally associated with urban space, more and more often becomes the domain of other than urban environments. Currently, there is no and should not be an equal sign between urban art and public art, although – undoubtedly – the relationship between the two is still somehow strong as many objects of public art are indeed situated in cities. Notwithstanding, at present we are dealing with numerous artistic interventions that pose a question about the reality of non-urban space, the ways of its reception as well as aesthetic evaluation. Non-urban public art is often a meditation on the way of experiencing common space and the relationship between art, community and aesthetics. \u0000One of the particularly interesting topics is the relationship between works of public art and some epistemic and ontological categories. First of all, public art seems to rise a question of accessibility and illegality of art in public spheres. Is an artwork displayed on private property and yet widely accessible to almost everyone a token of public art? Or, is it always the case for public artworks to be commissioned and legal? What is the nature of (potentially) illegal public artworks and their connection to public space? Second, can we move public artworks from the original site of display into another spacer. That is, are they, and if yes, then to what extent, site-specific? \u0000Another interesting issue is the role that public art plays in creating the (aesthetic) atmospheres of given places. Everyone seems to agree that good public art should refer to and respect the atmosphere of a given place, and if it does not do so, it raises objections from the public. Another question is how public art (understood as something that reconfigures the existing space) is able to influence and potentially contribute to the given atmosphere. Even more importantly, one could see how (good) public art is able to help in transforming a space (as a spatial and primarily geographical notion) into a place (understood as something existential in nature). \u0000This certainly highlights the “public” character of the contemporary work of art, but what is it that makes the artwork publ","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124803374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Filter Bubbles. Art and digital worlds","authors":"Francesca Perotto","doi":"10.36253/aisthesis-12474","DOIUrl":"https://doi.org/10.36253/aisthesis-12474","url":null,"abstract":"Our experience is marked by the constant, and often imperceptible, presence of technological actors that, with their operational mechanisms, greatly influence the processes of construction of the worlds – both physical and imaginary – in which we live and, consequently, of ourselves. In the last decade, internet-based media have introduced a further level of mediation, constituted by the activity of profiling and the construction of filter bubbles, whose power reverberates offline. The context of the pandemic contagion we are experiencing has drastically expanded the space for these actors, whose filtering mechanisms are often as pervasive as they are opaque. To overcome this problem, artistic practices and aesthetics can play a fundamental role. In this text we aim to see how, thanks to the works of some Italian artists who have built their careers by reflecting on the aesthetic aspects of the information society. ","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121158638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The The Bride Machine: Duchamp’s Theory of Art Revisited","authors":"Ricardo Ibarlucía","doi":"10.36253/aisthesis-13216","DOIUrl":"https://doi.org/10.36253/aisthesis-13216","url":null,"abstract":"It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the historical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s and Jean Brun’s, it argues that Duchamp’s practice has an explanatory principle, both in the mechanical reproduction of the work of art and in the aestheticization of the machine. On the other hand, it brings forward some observations regarding Duchamp’s insight on the “total lack of good or bad taste” and the perceptual dimension of a sculptural object as the Large Glass, coming back to Arthur Danto’s interpretation of ready-mades and to the notion of “implementation” introduced by Nelson Goodman to define “the process of bringing about the aesthetic functioning that provides the basis for the notion of a work of art”.","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125014417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Robert Smithson’s aesthetics and the future of Earth Art","authors":"M. Veleva","doi":"10.36253/aisthesis-12477","DOIUrl":"https://doi.org/10.36253/aisthesis-12477","url":null,"abstract":"Environmental pollution is a global problem today, and together with urbanization closely intertwined with the current pandemic and the challenges facing humanity. This text, based on Robert Smithson’s aesthetic theory and production, intends to show that Earth Art could provide a critical comprehension of industrial culture, could oppose its Gestell (the city may also be seen as Gestell), and sensitize society to the current environmental problems. I also discuss Smithson’s multi-stratified art works, his preference for processes over objects and his critical reflection on museums and galleries as closed and traditional spaces. I suggest that Earth Art has the potential to redefine the relationship between outside and inside, optic and haptic, as well between a «distal, disembodied approach» on one hand and «immediate body experience» on the other. It could be developed more intensively in the future, inasmuch it attracts public to open spaces, thus avoiding possible contagion.","PeriodicalId":447022,"journal":{"name":"Aisthesis. Pratiche, linguaggi e saperi dell’estetico","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129140343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}