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Stendhal and Rousseau Habit, Interiority and Exception
Full text linkLe Rouge et le Noir is taken as an example of a novel in which the hero, and some other characters, experience strong tension between inner consciousness and social habits. Stendhal’s novel is a particularly significant example because it is shaped by the immediate afterlife of the French Revolution and the writings of Rousseau. The revolutionary rupture with habit intersects with the themes of a consciousness looking for inner existence and the role of inner passions. The Revolution was an exception, prolonged by the rise of Bonaparte which appeals to a hero frustrated by the habitual conformity of anti-revolutionary France after the fall of Bonaparte. He seeks a great career, and he seeks grandeur in love, always combining passions with strategy in an unstable mix. He moves from love with a comparative innocent to love with a woman who shares his obsessions though they have different objects. The final crisis of the novel leads to a breakdown of the hero’s habitual self, in an ending in which passions becomes both destructive violence and an idyllic solitary resignation. The journey into an interiority, through exceptional breaks with habit finds a culmination. This achievement rests on Stendhal writing in a world after Rousseau and understanding the full extent of this requires a rounded understanding of Rousseau, along with his context.Le Rouge et le Noir is taken as an example of a novel in which the hero, and some other characters, experience strong tension between inner consciousness and social habits. Stendhal’s novel is a particularly significant example because it is shaped by the immediate afterlife of the French Revolution and the writings of Rousseau. The revolutionary rupture with habit intersects with the themes of a consciousness looking for inner existence and the role of inner passions. The Revolution was an exception, prolonged by the rise of Bonaparte which appeals to a hero frustrated by the habitual conformity of anti-revolutionary France after the fall of Bonaparte. He seeks a great career, and he seeks grandeur in love, always combining passions with strategy in an unstable mix. He moves from love with a comparative innocent to love with a woman who shares his obsessions though they have different objects. The final crisis of the novel leads to a breakdown of the hero’s habitual self, in an ending in which passions becomes both destructive violence and an idyllic solitary resignation. The journey into an interiority, through exceptional breaks with habit finds a culmination. This achievement rests on Stendhal writing in a world after Rousseau and understanding the full extent of this requires a rounded understanding of Rousseau, along with his context
A. Boissière, L’Art et le vivant du jeu, Presses Universitaires de Liège, Liège 2023
Full text linkAnne Boissière’s last book, L’Art et le vivant du jeu inscribes the study of the experience of playing within a methodological challenge: to take seriously the “aisthetic” nature of philosophical inquiry, namely its emergence from our “way of feeling”. Offering descriptions rather than definitions, perspectives rather than theories, Boissière undertakes a philosophical “gesture” which, instead of imposing a “conceptual cage” on the subjects analysed, assumes the affective origin of language, and thought. Indeed, it is the feeling of the “lack” of the pathic dimension of experience within contemporary society that leads Boissière to focus on the “living” dimension of the experience of playing (le “vivant” du jeu), in a way that rehabilitates this dimension from the very way in which the philosophical study of it is carried out. This begins with a way of writing – characterised by the use of the first person and other stylistic choices – through which she “claim[s] the necessity” of a way of doing philosophy that is not “guided by rational argumentation”, but by the “situated” nature of the reflexive and writing experience – an experience that includes that of being “a woman in a theoretical universe, that of philosophy, that is almost exclusively shaped by men”.Anne Boissière’s last book, L’Art et le vivant du jeu inscribes the study of the experience of playing within a methodological challenge: to take seriously the “aisthetic” nature of philosophical inquiry, namely its emergence from our “way of feeling”. Offering descriptions rather than definitions, perspectives rather than theories, Boissière undertakes a philosophical “gesture” which, instead of imposing a “conceptual cage” on the subjects analysed, assumes the affective origin of language, and thought. Indeed, it is the feeling of the “lack” of the pathic dimension of experience within contemporary society that leads Boissière to focus on the “living” dimension of the experience of playing (le “vivant” du jeu), in a way that rehabilitates this dimension from the very way in which the philosophical study of it is carried out. This begins with a way of writing – characterised by the use of the first person and other stylistic choices – through which she “claim[s] the necessity” of a way of doing philosophy that is not “guided by rational argumentation”, but by the “situated” nature of the reflexive and writing experience – an experience that includes that of being “a woman in a theoretical universe, that of philosophy, that is almost exclusively shaped by men”
Lasciar spazio ai margini dell’abitare: friche, progettualità ed enjambement
Full text linkThis article discusses the concept of the “Third Landscape” proposed by Gilles Clément, examining its relationship to architectural design and the conception of time and the subject. By analyzing the philosophical implications of the notion of friche, it aims to reconsider our anthropocentric worldview in order to embrace an approach that recognizes and values the richness of life in the residual. The text explores the complexity of relationships between humans, nature and architectural space, questioning traditional concepts such as the Promethean idea of the subject and time as a linear progression. Thus, a new model of designing subjectivity based on the Merleaupontyan institution is suggested, one that recognizes contingency and anonymity as essential elements of creation, thus emphasizing the need to reconsider as an authentic ethical and political value the letting-space.This article discusses the concept of the “Third Landscape” proposed by Gilles Clément, examining its relationship to architectural design and the conception of time and the subject. By analyzing the philosophical implications of the notion of friche, it aims to reconsider our anthropocentric worldview in order to embrace an approach that recognizes and values the richness of life in the residual. The text explores the complexity of relationships between humans, nature and architectural space, questioning traditional concepts such as the Promethean idea of the subject and time as a linear progression. Thus, a new model of designing subjectivity based on the Merleaupontyan institution is suggested, one that recognizes contingency and anonymity as essential elements of creation, thus emphasizing the need to reconsider as an authentic ethical and political value the letting-space
Memoria poietica. Gnoseologia e paragone delle arti tra retorica e musica
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The article intends to explore the hypothesis that there is not only a reproductive dimension to memory but also concerns the terrain of poiesis. Between memory and creativity, there seems to be a point at which the crossing of the perception in the immanent time changes direction and becomes a creative attitude. In this regard, we investigate a particularly significant period in the history of Western thought, and in the constitution of modernity, namely the passage from the Middle Ages to the Renaissance. In our path, we intend to emphasise, on the one hand, the permanence of the problem of a memory that opens up to poiesis; on the other, how in this epochal passage significant variations are made in the way of understanding poietic memory and in the way in which the criterion that organises pre-existing data functions for the construction of the work. A path through the reflections of Augustine, Bonaventure, Leon Battista Alberti, and Leonardo da Vinci is proposed to address this theme.The article intends to explore the hypothesis that there is not only a reproductive dimension to memory but also concerns the terrain of poiesis. Between memory and creativity, there seems to be a point at which the crossing of the perception in the immanent time changes direction and becomes a creative attitude. In this regard, we investigate a particularly significant period in the history of Western thought, and in the constitution of modernity, namely the passage from the Middle Ages to the Renaissance. In our path, we intend to emphasise, on the one hand, the permanence of the problem of a memory that opens up to poiesis; on the other, how in this epochal passage significant variations are made in the way of understanding poietic memory and in the way in which the criterion that organises pre-existing data functions for the construction of the work. A path through the reflections of Augustine, Bonaventure, Leon Battista Alberti, and Leonardo da Vinci is proposed to address this theme
We, Lovers of To Be, Eyes of the World
No full textThe imminent completion of the publication of Martin Heidegger’s Gesamtausgabe will allow scholars to deepen the meaning of the relationship between thought and art and, simultaneously, the nature of the instance that presides over both these cognitive manifestations. In particular, the analysis of the phenomenon of Enowning will promote the understanding of the intimate meaning of Edward Estlin Cummings’ poetic work and the scope of the parallel path followed by the poet within the pictorial experience he undertook based on the figurative revolutions inaugurated by Paul Cézanne and Cubism. The pictorial search for a space that is not reduced to representing objects but provides the place where they can instead make their appearance establishes the dimension that grants man a time to be one with everything. Correspondingly, the poetic word becomes capable of naming the phenomenon of the self-concealment of Being and becoming the guardian of the possibility of all that is.The imminent completion of the publication of Martin Heidegger’s Gesamtausgabe will allow scholars to deepen the meaning of the relationship between thought and art and, simultaneously, the nature of the instance that presides over both these cognitive manifestations. In particular, the analysis of the phenomenon of Enowning will promote the understanding of the intimate meaning of Edward Estlin Cummings’ poetic work and the scope of the parallel path followed by the poet within the pictorial experience he undertook based on the figurative revolutions inaugurated by Paul Cézanne and Cubism. The pictorial search for a space that is not reduced to representing objects but provides the place where they can instead make their appearance establishes the dimension that grants man a time to be one with everything. Correspondingly, the poetic word becomes capable of naming the phenomenon of the self-concealment of Being and becoming the guardian of the possibility of all that is
For a mixed reality Aesthetics Marina Abramović and the immersive philosophy
Full text linkThe paper intends to reflect on the function of digital technology within the field of aesthetics. Through Marina Abramović’s work The Life (2019) the aim is to rethink the relationship between the artistic object and subjective consciousness in a phenomenological key. The Serbian artist’s work uses the innovative and original technique of mixed reality; this new horizon leads to new philosophical frontiers relating to the perception of the body, experience (Erlebnis), experience and intuition. We will try to focus attention on the relationship between virtuality and reality by comparing mixed reality with purely virtual reality and augmented reality. Even the relationship with the public and the spectator is defined from a different, broader point of view in which the experience of the artistic object becomes a philosophically immersive experience. The presence-absence of the artist expresses the new aesthetic horizons supported by digital, opening up to a series of problems which, especially in the phenomenological field, mark the current debate.The paper intends to reflect on the function of digital technology within the field of aesthetics. Through Marina Abramović’s work The Life (2019) the aim is to rethink the relationship between the artistic object and subjective consciousness in a phenomenological key. The Serbian artist’s work uses the innovative and original technique of mixed reality; this new horizon leads to new philosophical frontiers relating to the perception of the body, experience (Erlebnis), experience and intuition. We will try to focus attention on the relationship between virtuality and reality by comparing mixed reality with purely virtual reality and augmented reality. Even the relationship with the public and the spectator is defined from a different, broader point of view in which the experience of the artistic object becomes a philosophically immersive experience. The presence-absence of the artist expresses the new aesthetic horizons supported by digital, opening up to a series of problems which, especially in the phenomenological field, mark the current debate
Exploring the Intersection of Art, Human Creativity, and AI
Full text linkSince the early 2000s, computational informatics has increasingly entered the artistic sphere, traditionally a human monopoly. Generative artificial intelligences follow creative processes that are seemingly similar to human ones: they learn from existing works, grasp stylistic canons, and ultimately generate a new artifact that is aesthetically pleasing. Some of them have passed the Turing test, which may lead to the claim that we have reached a point where machines are capable of thinking, feeling, and knowing, thus undermining human beings from their domain in art and all creative fields. However, this perspective of exalting computational creativity has several critical points that can be refuted through contributions from fields such as philosophy and neuroscience. Art and culture have a symbolic value that cannot be generated by computational processes: they help define the Umwelt through which humans experience the world; they reflect the worldview of an era and a society; they attribute meanings to existence and reality. Therefore, it is challenging to summarize a work of art through computational models, as it contains a dimension of meaning that goes beyond form and cannot be exhausted through the logic of language, words, or computer signs. Finally, creativity is a much more complex process than simple learning and reshuffling of data: it is an ontological characteristic of human beings and is the result of millennia of evolutionary processes, which have led humans to develop conscious minds that - through a complex relationship between sensory perception, neural networks, and emotions - enable reasoning and creative thinking. The case of musical composition illustrates the gap between human creativity and artificial creativity: computational algorithms are to be seen as new mediums that open up new expressive possibilities for artists, but they cannot completely replace the human element in the creative process.Since the early 2000s, computational informatics has increasingly entered the artistic sphere, traditionally a human monopoly. Generative artificial intelligences follow creative processes that are seemingly similar to human ones: they learn from existing works, grasp stylistic canons, and ultimately generate a new artifact that is aesthetically pleasing. Some of them have passed the Turing test, which may lead to the claim that we have reached a point where machines are capable of thinking, feeling, and knowing, thus undermining human beings from their domain in art and all creative fields. However, this perspective of exalting computational creativity has several critical points that can be refuted through contributions from fields such as philosophy and neuroscience. Art and culture have a symbolic value that cannot be generated by computational processes: they help define the Umwelt through which humans experience the world; they reflect the worldview of an era and a society; they attribute meanings to existence and reality. Therefore, it is challenging to summarize a work of art through computational models, as it contains a dimension of meaning that goes beyond form and cannot be exhausted through the logic of language, words, or computer signs. Finally, creativity is a much more complex process than simple learning and reshuffling of data: it is an ontological characteristic of human beings and is the result of millennia of evolutionary processes, which have led humans to develop conscious minds that - through a complex relationship between sensory perception, neural networks, and emotions - enable reasoning and creative thinking. The case of musical composition illustrates the gap between human creativity and artificial creativity: computational algorithms are to be seen as new mediums that open up new expressive possibilities for artists, but they cannot completely replace the human element in the creative process
Editoriale: abitudine e letteratura
No full textStarting from antiquity, the concept of habit has traversed the entire history of Western philosophy and has represented one of the great themes of modern and contemporary literature. The reflection on habit has raised questions concerning the relationship between body and mind, the problem of time and the (re)construction of identity, the conscious and the unconscious, and the role of memory.
This dossier addresses these questions from an aesthetic perspective, at the crossroads between the history of philosophy and the history of literature.Starting from antiquity, the concept of habit has traversed the entire history of Western philosophy and has represented one of the great themes of modern and contemporary literature. The reflection on habit has raised questions concerning the relationship between body and mind, the problem of time and the (re)construction of identity, the conscious and the unconscious, and the role of memory.
This dossier addresses these questions from an aesthetic perspective, at the crossroads between the history of philosophy and the history of literature
La mimesi come conditio humana
Full text linkThis contribution aims to review the contemporary debate on mimesis, opening perspectives of considerable topicality. Due to our very anthropological constitution, we become human beings only because we can implement processes that allow us to enter mimetic relationships with other human beings and the world around us. However, to speak of an authentic "social mimesis", the meaning of the mimetic act must not only be considered from an aesthetic point of view because mimesis is also (and perhaps above all) an anthropological concept, as already demonstrated using the term by the ancients. Thus, it is crucial to understand that the mimetic act is not a mere imitation in the sense of merely "making a copy", drawing attention to its cultural and social role through the staging of the body and the "culture of performance".This contribution aims to review the contemporary debate on mimesis, opening perspectives of considerable topicality. Due to our very anthropological constitution, we become human beings only because we can implement processes that allow us to enter mimetic relationships with other human beings and the world around us. However, to speak of an authentic "social mimesis", the meaning of the mimetic act must not only be considered from an aesthetic point of view because mimesis is also (and perhaps above all) an anthropological concept, as already demonstrated using the term by the ancients. Thus, it is crucial to understand that the mimetic act is not a mere imitation in the sense of merely "making a copy", drawing attention to its cultural and social role through the staging of the body and the "culture of performance"
Un elegante senso di disgusto. Mappatura visuale del mannequin nella fotografia di moda
Full text linkThe mannequin is a paradoxical figure, simultaneously captivating and disturbing. Within this ambiguity, the Surrealists explored the boundary between the animate and the inani- mate in search of that uncanniness that aligns with Freud’s concept of the Das Unheimli- che. This study investigates the peculiar sensation of disgust and repulsion provoked by this human simulacrum in surrealist fashion photography. The analysis is structured as a visual mapping of the mannequin, examining photographs published in Vogue between 1925 and 1945.
The investigation reflects on the concept of disgust, here framed within Freud’s notion of the uncanny and interwoven with the Surrealist concept of convulsive beauty, tracing back to the Surrealists’ critique of capitalism, of which the mannequin becomes a vehicle. A comparison with Hans Bellmer’s explicitly disturbing Poupée highlights the polished perfection of the mannequins staged in fashion editorials by photographers such as Man Ray, Horst, Hoyningen-Huene, and Blumenfeld. Drawing upon theories of psychoanaly- sis, aesthetics, and art history, the study examines the factors that render these images disturbing: their artificiality, lifelessness, and resemblance to the human form. However, the Surrealist operation has a subversive edge: discomfort serves to reveal the circular relationship between art and consumerism.
The visual trope of the mannequin, with its intrinsic duality of elegance and the abject, serves as a lens through which to examine this subtle undercurrent of unconscious disgust that permeates surrealist fashion photography, pushing the boundaries of artistic expres- sion and critique of modern society.The mannequin is a paradoxical figure, simultaneously captivating and disturbing. Within this ambiguity, the Surrealists explored the boundary between the animate and the inani- mate in search of that uncanniness that aligns with Freud’s concept of the Das Unheimli- che. This study investigates the peculiar sensation of disgust and repulsion provoked by this human simulacrum in surrealist fashion photography. The analysis is structured as a visual mapping of the mannequin, examining photographs published in Vogue between 1925 and 1945.
The investigation reflects on the concept of disgust, here framed within Freud’s notion of the uncanny and interwoven with the Surrealist concept of convulsive beauty, tracing back to the Surrealists’ critique of capitalism, of which the mannequin becomes a vehicle. A comparison with Hans Bellmer’s explicitly disturbing Poupée highlights the polished perfection of the mannequins staged in fashion editorials by photographers such as Man Ray, Horst, Hoyningen-Huene, and Blumenfeld. Drawing upon theories of psychoanaly- sis, aesthetics, and art history, the study examines the factors that render these images disturbing: their artificiality, lifelessness, and resemblance to the human form. However, the Surrealist operation has a subversive edge: discomfort serves to reveal the circular relationship between art and consumerism.
The visual trope of the mannequin, with its intrinsic duality of elegance and the abject, serves as a lens through which to examine this subtle undercurrent of unconscious disgust that permeates surrealist fashion photography, pushing the boundaries of artistic expres- sion and critique of modern society