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Two Sabbath Stories in Walter Benjamin’s Kafka Essay: Wishing on a Constellation of Three Stars
Get PDFThis essay examines the two stories about or related to the Sabbath which Walter Benjamin included in his essay commemorating the tenth anniversary of Kafka’s death. Both are pastiches of Hasidic stories, apparently written by Benjamin himself. The first is based on a legend about a princess who prepares a festive meal for her fiancé on Friday evening, as the Sabbath begins; and the second is about the Jews in a Hasidic village who have assembled on Saturday evening, as the Sabbath is about to end, telling their wishes to each other. These stories, the essay suggests, are not only important for assessing Benjamin’s reading of Kafka’s oeuvre, but must at the same time also be seen as an expression of Benjamin’s own, gradually developing understanding of the Messianic dimensions of his own philosophy of history.This essay examines the two stories about or related to the Sabbath which Walter Benjamin included in his essay commemorating the tenth anniversary of Kafka’s death. Both are pastiches of Hasidic stories, apparently written by Benjamin himself. The first is based on a legend about a princess who prepares a festive meal for her fiancé on Friday evening, as the Sabbath begins; and the second is about the Jews in a Hasidic village who have assembled on Saturday evening, as the Sabbath is about to end, telling their wishes to each other. These stories, the essay suggests, are not only important for assessing Benjamin’s reading of Kafka’s oeuvre, but must at the same time also be seen as an expression of Benjamin’s own, gradually developing understanding of the Messianic dimensions of his own philosophy of history
Measuring Experiences of Art in the Museum: Exploring Methodology for Getting It Right
Get PDFCan we measure the experiences of physical and VR art installations? How could that be done? The present research attempts to answer these questions through the use of a multimethod approach to assess every dimension of the experience of art. Wristband and questionnaires have been used as research tools to understand how the experience of art installations in the museum takes place and to study it, through and across two different installations. To examine art experiences in an ecologically valid setting, a pop-up lab was used at the Frankfurter Kunstverein, creating an opportunity to reach the «golden path» for empirical investigation of art experiences and, in the present instance, specific experience of art installations. Two installations have been selected from the exhibition «The Intelligence of Plants» (16.10.2021 – 20.02.2022) as single-cases to explore a suitable methodology for the experience of art installations. Both installations were chosen by the
curator Franziska Nori for their shared goal of connecting the observers’ bodies with the ones of the giant trees featured in both installations, in order to look for commonalities with other non-human fellow beings. Additionally, both these installations aim at evoking experiences of the sublime in the audience. Sensations, emotions, and thoughts, as well as physiological reactions and movements, partake in these experiences. Data collected with the presented methodology is potentially very rich thanks to the presence of original art installations (rather than their reproductions) over the space and time they are meant to be visited. Data from the questionnaires can be considered ecologically valid, as consisting of accurate subjective reportages of the visitors while actually experiencing the installations in situ. The proper measurement of physical and behavioral patterns is however harder to achieve as it relies on biometrics in a real-world setting. To overcome this issue and have more control over the multiple variables that can affect the measurements, a collaboration among disciplines and professionals from the art sector is at the heart of the matter.Can we measure the experiences of physical and VR art installations? How could that be done? The present research attempts to answer these questions through the use of a multimethod approach to assess every dimension of the experience of art. Wristband and questionnaires have been used as research tools to understand how the experience of art installations in the museum takes place and to study it, through and across two different installations. To examine art experiences in an ecologically valid setting, a pop-up lab was used at the Frankfurter Kunstverein, creating an opportunity to reach the «golden path» for empirical investigation of art experiences and, in the present instance, specific experience of art installations. Two installations have been selected from the exhibition «The Intelligence of Plants» (16.10.2021 – 20.02.2022) as single-cases to explore a suitable methodology for the experience of art installations. Both installations were chosen by the
curator Franziska Nori for their shared goal of connecting the observers’ bodies with the ones of the giant trees featured in both installations, in order to look for commonalities with other non-human fellow beings. Additionally, both these installations aim at evoking experiences of the sublime in the audience. Sensations, emotions, and thoughts, as well as physiological reactions and movements, partake in these experiences. Data collected with the presented methodology is potentially very rich thanks to the presence of original art installations (rather than their reproductions) over the space and time they are meant to be visited. Data from the questionnaires can be considered ecologically valid, as consisting of accurate subjective reportages of the visitors while actually experiencing the installations in situ. The proper measurement of physical and behavioral patterns is however harder to achieve as it relies on biometrics in a real-world setting. To overcome this issue and have more control over the multiple variables that can affect the measurements, a collaboration among disciplines and professionals from the art sector is at the heart of the matter
Feed your Self. Sulla colorizzazione del Sé nell’era del digitale
Get PDFAt the time of Instagramism, social media profiles are characterized by recognizable and homogeneous visual theme. Following the spread of the filter culture which allows greater control over numerous chromo-luministic parameters, users are confronted with a normalization of the notions of editing and color correction before every contents’ online publication.
The content creators are capable to creatively make what Lev Manovich defines style of existence, using the post-production tools now maneuverable to achieve the desired representation. In a self-representative but social dispositif, the aesthetics of filter triggers chromatic characterizations and compositions such as the color grid.
The paper intends to deepen the theoretical and methodological relationship between the social self-representation and the chromatic practice, with particular attention to the ways in which the coloristic connotations led to pleasant and gratifying presentation of the Self on Instagram platform.At the time of Instagramism, social media profiles are characterized by recognizable and homogeneous visual theme. Following the spread of the filter culture which allows greater control over numerous chromo-luministic parameters, users are confronted with a normalization of the notions of editing and color correction before every contents’ online publication.
The content creators are capable to creatively make what Lev Manovich defines style of existence, using the post-production tools now maneuverable to achieve the desired representation. In a self-representative but social dispositif, the aesthetics of filter triggers chromatic characterizations and compositions such as the color grid.
The paper intends to deepen the theoretical and methodological relationship between the social self-representation and the chromatic practice, with particular attention to the ways in which the coloristic connotations led to pleasant and gratifying presentation of the Self on Instagram platform
Worringer, Dewey, Goodman, and the Concept of Aesthetic Experience: A Biological Perspective
Get PDFThe purpose of this essay is to advocate the ideas of Wilhelm Worringer, John Dewey, and Nelson Goodman on the roles of perception, empathy, emotion, and enjoyment in aesthetic experience. I will attempt to do this by offering a novel interpretation of some of these thinkers’ insights from a biological perspective. To this end, I will consider the following questions. What is an aesthetic experience? Does such a thing exist at all? If yes, is there a correlation between the concept of the aesthetic and perception? Is it possible, then, to find a biological basis for aesthetic experience? My argument is that a fresh analysis of the aesthetics of Worringer, Dewey, and Goodman, in light of some of the discoveries and theories of the cognitive neurosciences – such as the biological correlations of emotions, the “as-if-body-loop” theory, the discovery of mirror neurons, and the phenomenon of embodied simulation – may provide a contribution to longstanding philosophical problems relating to the nature of aesthetic experience.The purpose of this essay is to advocate the ideas of Wilhelm Worringer, John Dewey, and Nelson Goodman on the roles of perception, empathy, emotion, and enjoyment in aesthetic experience. I will attempt to do this by offering a novel interpretation of some of these thinkers’ insights from a biological perspective. To this end, I will consider the following questions. What is an aesthetic experience? Does such a thing exist at all? If yes, is there a correlation between the concept of the aesthetic and perception? Is it possible, then, to find a biological basis for aesthetic experience? My argument is that a fresh analysis of the aesthetics of Worringer, Dewey, and Goodman, in light of some of the discoveries and theories of the cognitive neurosciences – such as the biological correlations of emotions, the “as-if-body-loop” theory, the discovery of mirror neurons, and the phenomenon of embodied simulation – may provide a contribution to longstanding philosophical problems relating to the nature of aesthetic experience
Immaginazione, sublime e apertura del tempo Deleuze lettore dell’estetica kantiana
Get PDFThe aim of this essay is to outline the genesis of a plural conception of temporality within Gilles Deleuze\u27s thought, using as a starting point his reflection on the Kantian sublime and showing how this reflection has significant repercussions in place of the pages that Deleuze dedicates to painting. To show the implications of the overcoming that Deleuzian conception tries to make on the ordinal character of Kantian temporality, we will first focus on the role played by imagination within the doctrine of faculties; then, we will focus on the passage from the ordinal temporality disclosed by Kant to the plural one conceived by Deleuze. Finally, we will show how this new temporality manifests itself through Deleuzian aesthetic conceptions in the field of painting, with reference to the notions of "actual" and "virtual" and to the role that the Kantian sublime continues to play in this phase of Deleuzian thought.The aim of this essay is to outline the genesis of a plural conception of temporality within Gilles Deleuze\u27s thought, using as a starting point his reflection on the Kantian sublime and showing how this reflection has significant repercussions in place of the pages that Deleuze dedicates to painting. To show the implications of the overcoming that Deleuzian conception tries to make on the ordinal character of Kantian temporality, we will first focus on the role played by imagination within the doctrine of faculties; then, we will focus on the passage from the ordinal temporality disclosed by Kant to the plural one conceived by Deleuze. Finally, we will show how this new temporality manifests itself through Deleuzian aesthetic conceptions in the field of painting, with reference to the notions of "actual" and "virtual" and to the role that the Kantian sublime continues to play in this phase of Deleuzian thought
La dimensione cromatica nella riflessione di Gottfried Boehm. La differenza iconica, il colore e un confronto con la filosofia francese
Get PDFOur paper aims at analyzing the relationship between the dimension of colour and the concept of iconic difference as it has been developed by the German philosopher Gottfried Boehm. In particular, we show how colours can contribute to the blossoming of iconic meaning in a way that cannot be fully expressed through language, thus giving access to a more authentic ontological truth of the object represented in the image. Moreover, we introduce a comparison between Boehm, Merleau-Ponty and Derrida. More specifically, we argue that Boehm’s understanding of the colour and of the concept of difference relies largely on the work of Merleau-Ponty and diverges for this reason with Derrida’s approach towards colours. Therefore, we conclude that any comparison between Boehm and Derrida should be undertaken prudently, if our goal is to appreciate the specific material features of images against the reduction of textual analysis.Our paper aims at analyzing the relationship between the dimension of colour and the concept of iconic difference as it has been developed by the German philosopher Gottfried Boehm. In particular, we show how colours can contribute to the blossoming of iconic meaning in a way that cannot be fully expressed through language, thus giving access to a more authentic ontological truth of the object represented in the image. Moreover, we introduce a comparison between Boehm, Merleau-Ponty and Derrida. More specifically, we argue that Boehm’s understanding of the colour and of the concept of difference relies largely on the work of Merleau-Ponty and diverges for this reason with Derrida’s approach towards colours. Therefore, we conclude that any comparison between Boehm and Derrida should be undertaken prudently, if our goal is to appreciate the specific material features of images against the reduction of textual analysis
Poetry and Poetics: some critical-creative reflections
Get PDFChristopher Norris is Emeritus professor at Cardiff University. Recently, he began to address philosophical questions through poetry. In his paper, he explains why. Rather than expressing definite ideas in an elegant way, poetry can be intended as a process from which new ideas (also philosophical ones) can emerge. The result are a number of poems which cover a variety of issues, ranging from philosophy to politics, arts, history of ideas and science. Itinera has already begun to publish a few of these poems in previous issues and is now presenting three of them on painters (Turner, Matisse, Magritte).Christopher Norris is Emeritus professor at Cardiff University. Recently, he began to address philosophical questions through poetry. In his paper, he explains why. Rather than expressing definite ideas in an elegant way, poetry can be intended as a process from which new ideas (also philosophical ones) can emerge. The result are a number of poems which cover a variety of issues, ranging from philosophy to politics, arts, history of ideas and science. Itinera has already begun to publish a few of these poems in previous issues and is now presenting three of them on painters (Turner, Matisse, Magritte)
La festa Potenza di un’immagine estetica
Get PDFThe article aims to investigate the relationship between the festive act and the artistic event. What Furio Jesi defines as “peaceful celebration” is likened to the ancient Greek festivities in which the poet shows the unrepeatable repetition of the artistic event, and thus frames it within the community-based realm of friendship. While singing the feast, artists preserve memory and realise an “expropriative” event. This creates an atmosphere in which one dwells in the “unappropriable”, i.e., what one can neither buy nor possess. Although art can enter the market economy and bend to the laws of exhibition, within itself it remains a pulsating festive image that is never entirely reducible to mere commodity. The event of art, in this sense, brings about the unveiling of an excess and turns it into potential. As their role is to trigger and share the celebration, poets are holders of madness understood as the matrix of a festive wisdom, which allows a perception of life as in-depth, dancing rhythm, and which makes itself available to the human community as an opportunity for transformation.The article aims to investigate the relationship between the festive act and the artistic event. What Furio Jesi defines as “peaceful celebration” is likened to the ancient Greek festivities in which the poet shows the unrepeatable repetition of the artistic event, and thus frames it within the community-based realm of friendship. While singing the feast, artists preserve memory and realise an “expropriative” event. This creates an atmosphere in which one dwells in the “unappropriable”, i.e., what one can neither buy nor possess. Although art can enter the market economy and bend to the laws of exhibition, within itself it remains a pulsating festive image that is never entirely reducible to mere commodity. The event of art, in this sense, brings about the unveiling of an excess and turns it into potential. As their role is to trigger and share the celebration, poets are holders of madness understood as the matrix of a festive wisdom, which allows a perception of life as in-depth, dancing rhythm, and which makes itself available to the human community as an opportunity for transformation
Introduction
Get PDFThis monographic section of “Itinera” develops some of the questions which were raised at the summer school “Aesthetics, Technique and Emotion”, held in June 2020 at the Lake Como School of Advanced Studies (https://aeat.lakecomoschool.org/). The summer school was organized by the University of Milan in collaboration with the European Seminar of Aesthetics (https://sites.unimi.it/eu_aesthetics/). The aim of the school was to investigate the meaning of aesthetics today, in light of the different changes that are occurring in our aesthetic perception of the world. How is technology transforming the way we view the world and art, and what role do emotions still play in this context? What is the value of the performing arts in facing these new challenges, and how is aesthetic experience related to the current issues of morality and politics? These are some of the problems that were raised at the school and this issue seeks to develop them further.This monographic section of “Itinera” develops some of the questions which were raised at the summer school “Aesthetics, Technique and Emotion”, held in June 2020 at the Lake Como School of Advanced Studies (https://aeat.lakecomoschool.org/). The summer school was organized by the University of Milan in collaboration with the European Seminar of Aesthetics (https://sites.unimi.it/eu_aesthetics/). The aim of the school was to investigate the meaning of aesthetics today, in light of the different changes that are occurring in our aesthetic perception of the world. How is technology transforming the way we view the world and art, and what role do emotions still play in this context? What is the value of the performing arts in facing these new challenges, and how is aesthetic experience related to the current issues of morality and politics? These are some of the problems that were raised at the school and this issue seeks to develop them further
Expressiveness. A methodological approach
Get PDFThe debate on expressiveness is one of the most relevant in contemporary aesthetics. In fact, the possibility of an emotional linguistic expression referring to artistic objects or natural situations crosses a number of themes of classical and analytical aesthetics. The aim of this essay is therefore to enucleate what the presuppositions of a theory of expressiveness should be, starting from their historical genesis in the «expression theory» elaborated by Dewey. In particular, through the critical examination of two contemporary orientations on this issue – the Wollheim projectivist theory and the profile one by Kivy –, the aim is to bring attention to two indispensable aspects of a theory of expressiveness, which, although in need of revision, were already recognizable in the expression theory: a. a theory of intentionality and b. the dialectical consideration between Leib and Körper. In particular, the direction sketched at the end would suggest that it is this dialectical experience of the body that could be considered as the intentional condition for the existence and recognizability of expressive phenomena.The debate on expressiveness is one of the most relevant in contemporary aesthetics. In fact, the possibility of an emotional linguistic expression referring to artistic objects or natural situations crosses a number of themes of classical and analytical aesthetics. The aim of this essay is therefore to enucleate what the presuppositions of a theory of expressiveness should be, starting from their historical genesis in the «expression theory» elaborated by Dewey. In particular, through the critical examination of two contemporary orientations on this issue – the Wollheim projectivist theory and the profile one by Kivy –, the aim is to bring attention to two indispensable aspects of a theory of expressiveness, which, although in need of revision, were already recognizable in the expression theory: a. a theory of intentionality and b. the dialectical consideration between Leib and Körper. In particular, the direction sketched at the end would suggest that it is this dialectical experience of the body that could be considered as the intentional condition for the existence and recognizability of expressive phenomena