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The Sublime is What Forces Us to Think. How the Kantian sublime informs the genesis of thought in Deleuze
Get PDFAlthough Deleuze has written a whole volume on Kant, in the present essay I am paying close attention to a short and concentrated article of his on Kant’s third Critique entitled, The Idea of Genesis in Kant’s Aesthetic, because in it Deleuze highlights how the sublime experience is conducive to the aesthetic ought in Kant’s architectonic system, and how the sublime experience is necessary to engender artistic creativity. I argue, that although Deleuze rejects Kant’s thesis that there should be universal rules which determine thinking, he does take up Kant’s ideas of there being various mental faculties or capacities, which need to work together to produce all forms of thought and creative output. The possible disharmony of the distinct faculties, the violence that one might commit over the other, as happens in Kant’s sublime experience, becomes the violence in Deleuze’s philosophy which engenders creativity and, ultimately, forces one to think.Although Deleuze has written a whole volume on Kant, in the present essay I am paying close attention to a short and concentrated article of his on Kant’s third Critique entitled, The Idea of Genesis in Kant’s Aesthetic, because in it Deleuze highlights how the sublime experience is conducive to the aesthetic ought in Kant’s architectonic system, and how the sublime experience is necessary to engender artistic creativity. I argue, that although Deleuze rejects Kant’s thesis that there should be universal rules which determine thinking, he does take up Kant’s ideas of there being various mental faculties or capacities, which need to work together to produce all forms of thought and creative output. The possible disharmony of the distinct faculties, the violence that one might commit over the other, as happens in Kant’s sublime experience, becomes the violence in Deleuze’s philosophy which engenders creativity and, ultimately, forces one to think
Logic of the sublime. Deleuze, Kant and the genesis of value
Get PDFThe article discusses some aspects of Deleuze’s reinterpretation of Kantian aesthetics, specially focusing on the theme of the sublime with a twofold goal. On the one hand, it is showed how Deleuze elaborates a theory of thought criticizing some implicit presuppositions of Kantism: i.e., the common sense and the agreement of the faculties. In that context, the critique of the “recognition” model takes on a special function in order to clarify the dynamics of the sublime. On the other, it is a matter of investigating the ethical theme marking the sublime experience: a moment where the disagreement of cognitive faculties gives rise to new values unrecognized and unrecognizable. By stimulating that disagreement of the faculties, sublime thus allows us to express and scrutinize, on the Kantian side, a theme Deleuze had already encountered in Nietzsche’s thought: the creation of values.
The article discusses some aspects of Deleuze’s reinterpretation of Kantian aesthetics, specially focusing on the theme of the sublime with a twofold goal. On the one hand, it is showed how Deleuze elaborates a theory of thought criticizing some implicit presuppositions of Kantism: i.e., the common sense and the agreement of the faculties. In that context, the critique of the “recognition” model takes on a special function in order to clarify the dynamics of the sublime. On the other, it is a matter of investigating the ethical theme marking the sublime experience: a moment where the disagreement of cognitive faculties gives rise to new values unrecognized and unrecognizable. By stimulating that disagreement of the faculties, sublime thus allows us to express and scrutinize, on the Kantian side, a theme Deleuze had already encountered in Nietzsche’s thought: the creation of values.
 
Come Macbeth si lava le mani. La concezione diderotiana del movimento fra i primi scritti di estetica teatrale e i Salons
Get PDFIn the pages of Diderot, theatre is able to enclose a precise sense of movement. By distancing itself from conventions, poses, mannerisms, and affectations, the stage gesture can embody a fundamental dynamism and vitalism. Such a gesture should be read in the light of Diderot’s materialistic conception of nature. The centrality of body language and of pantomime is a leitmotiv of the art of the French eighteenth-century actor. However, in Diderot’s formulation of a dramaturgy of space and motion, as well as in the theorization of the aesthetic relationship between actor and spectator, we find a peculiar synthesis of the dichotomies illusion / fiction and sensitivity / detachment, which emerge with regard to the fictional status of theatre in the Enlightenment environment. In this sense, the analogy with the pictorial sphere turns out to be a fundamental resource. There is a sort of circular reasoning that induces in Diderot the desire of reforming theatre on the basis of painting: a painting which is however conceived in a radically dramatic way. Concepts such as absorption, theatricalization, decisive moment, unity of action, and fourth wall are applied to theatre as well as to painting. Therefore, they can be included within a more general interpretation of the sense of movement, according to the principles of fluidity, harmony, and transformation that regulate both nature and the work of art.In the pages of Diderot, theatre is able to enclose a precise sense of movement. By distancing itself from conventions, poses, mannerisms, and affectations, the stage gesture can embody a fundamental dynamism and vitalism. Such a gesture should be read in the light of Diderot’s materialistic conception of nature. The centrality of body language and of pantomime is a leitmotiv of the art of the French eighteenth-century actor. However, in Diderot’s formulation of a dramaturgy of space and motion, as well as in the theorization of the aesthetic relationship between actor and spectator, we find a peculiar synthesis of the dichotomies illusion / fiction and sensitivity / detachment, which emerge with regard to the fictional status of theatre in the Enlightenment environment. In this sense, the analogy with the pictorial sphere turns out to be a fundamental resource. There is a sort of circular reasoning that induces in Diderot the desire of reforming theatre on the basis of painting: a painting which is however conceived in a radically dramatic way. Concepts such as absorption, theatricalization, decisive moment, unity of action, and fourth wall are applied to theatre as well as to painting. Therefore, they can be included within a more general interpretation of the sense of movement, according to the principles of fluidity, harmony, and transformation that regulate both nature and the work of art
Diderot: Space and Movement. Introduction
Get PDFSpace and movement are not central concepts in discussing Diderot’s physical and philosophical thought, however they become quite interesting when the discussion shifts to aesthetics. Because of that, the question of space and movement in Diderot’s works is the main focus of this issue of Itinera. An analysis is carried out of the rhetorical and literary use of space and movement by Diderot to spatialise his materialist written expression and “put thinking in motion”. Special attention is devoted to the philosopher’s aesthetic considerations, of which space and movement are an important theoretical piece. Some of Diderot’s main works - among which the Lettre sur le aveugles, the Salons, Jacques le fataliste - are investigated under different perspectives in order to show the relevance of space and movement.Space and movement are not central concepts in discussing Diderot’s physical and philosophical thought, however they become quite interesting when the discussion shifts to aesthetics. Because of that, the question of space and movement in Diderot’s works is the main focus of this issue of Itinera. An analysis is carried out of the rhetorical and literary use of space and movement by Diderot to spatialise his materialist written expression and “put thinking in motion”. Special attention is devoted to the philosopher’s aesthetic considerations, of which space and movement are an important theoretical piece. Some of Diderot’s main works - among which the Lettre sur le aveugles, the Salons, Jacques le fataliste - are investigated under different perspectives in order to show the relevance of space and movement
Issues of Participatory Digital Theatre. Reflections on Three Forms Developed during the Pandemic
Get PDFThis article studies three participatory theatre-forms on zoom. It aims at analyzing what kind of participation is possible in the space of video-conferencing, which is both located in a private room and at a distance. These theatres seem able to interpellate the audience on a cognitive as well as a social and even an affective level. Each apparatus focuses on a different dimension, be it imagination, empathy or criticality. Yet the interactions result in an experience that is anchored in the social and sensitive subjectivity. The enable the audience to reflect on an array of issues that are far from limited to the pandemic.This article studies three participatory theatre-forms on zoom. It aims at analyzing what kind of participation is possible in the space of video-conferencing, which is both located in a private room and at a distance. These theatres seem able to interpellate the audience on a cognitive as well as a social and even an affective level. Each apparatus focuses on a different dimension, be it imagination, empathy or criticality. Yet the interactions result in an experience that is anchored in the social and sensitive subjectivity. The enable the audience to reflect on an array of issues that are far from limited to the pandemic
The Spirit of Place and its Ghost.Edoardo Tresoldi’s creative Restoration
Get PDFAbstract: the paper considers the creative restoration of an early Christian basilica in Siponto, Apulia, realized by Italian artist Edoardo Tresoldi. Tresoldi resorts to the wire mesh as an artistic material: the restored basilica thus results in a monumental but evanescent building. After an introduction describing the public artwork, the paper will unfold in two main sections. In the first one, the focus will be on the concept of genius loci as a distinctive character of Tresoldi’s poetics. Through an Heideggerian lens, the stress will be put on the existential value of dwelling, which is highlighted by the restored church. The second section will focus on the ghostly and uncanny (unheimlich) appearance of the basilica. Thanks to authors such as Derrida and Didi-Huberman, it will be shown that a genius deloci is at work in the site as well, calling into question the different temporalities that animate the basilica. Genius loci and genius deloci will prove as a conceptual couple capable of providing us with an access to the artwork; nevertheless, they will not be understood as a dichotomy, i.e. as mutually exclusive concepts, but as opposite notions that “haunt” each other and that cannot but be used together, in the postmodernist fashion of double-coding.Abstract: the paper considers the creative restoration of an early Christian basilica in Siponto, Apulia, realized by Italian artist Edoardo Tresoldi. Tresoldi resorts to the wire mesh as an artistic material: the restored basilica thus results in a monumental but evanescent building. After an introduction describing the public artwork, the paper will unfold in two main sections. In the first one, the focus will be on the concept of genius loci as a distinctive character of Tresoldi’s poetics. Through an Heideggerian lens, the stress will be put on the existential value of dwelling, which is highlighted by the restored church. The second section will focus on the ghostly and uncanny (unheimlich) appearance of the basilica. Thanks to authors such as Derrida and Didi-Huberman, it will be shown that a genius deloci is at work in the site as well, calling into question the different temporalities that animate the basilica. Genius loci and genius deloci will prove as a conceptual couple capable of providing us with an access to the artwork; nevertheless, they will not be understood as a dichotomy, i.e. as mutually exclusive concepts, but as opposite notions that “haunt” each other and that cannot but be used together, in the postmodernist fashion of double-coding
Diderot, Reid e l’esperienza percettiva. Compensazioni sinestetiche, linguistiche ed estetiche
Get PDFSensible qualities, not presumed abstract or pure aesthetic properties, are the main source for the Diderot’s and Reid’s aesthetic theories. Both authors work on the perceptual activity in normal situations and in blind people’s cognitive experience.This essay is aimed at emphasizing both the connections between perceptual activity and aesthetic experience and the role of aesthetic devices in the cognitive life. In Diderot sensible qualities are connected to emotions; in Reid they are the natural signs of emotions and mental properties. This kind of relationship is the key to interpreting how cognitive activity is configured as an aesthetic experience because of the sensible qualities’ role.Sensible qualities, not presumed abstract or pure aesthetic properties, are the main source for the Diderot’s and Reid’s aesthetic theories. Both authors work on the perceptual activity in normal situations and in blind people’s cognitive experience.This essay is aimed at emphasizing both the connections between perceptual activity and aesthetic experience and the role of aesthetic devices in the cognitive life. In Diderot sensible qualities are connected to emotions; in Reid they are the natural signs of emotions and mental properties. This kind of relationship is the key to interpreting how cognitive activity is configured as an aesthetic experience because of the sensible qualities’ role
«Io giungo all’essere e a me stesso». Le prime opere di Francesco Lo Savio, 1957-1959
Get PDFThe main aim of the article is to explain the beginning of the Roman painter Francesco Lo Savio’s career from 1957 to 1959. This part of his production has long been unknown because it was considered too distant from the mature works. During those years Lo Savio is still tied to his training in Informal Art. Moreover, the work of this period also show influences coming from American art, in particular, from the pictorial research of Mark Rothko. This essay illustrates why these works should be considered an important step, although germinal, in Lo Savio’s painting career. Just by analyzing the origins of his painting, it is possible to understand the next steps of his work. The works at the end of 1958 and early 1959 are, in fact, the start of his artistic path that will result in Space-Light paintings a few months later.The main aim of the article is to explain the beginning of the Roman painter Francesco Lo Savio’s career from 1957 to 1959. This part of his production has long been unknown because it was considered too distant from the mature works. During those years Lo Savio is still tied to his training in Informal Art. Moreover, the work of this period also show influences coming from American art, in particular, from the pictorial research of Mark Rothko. This essay illustrates why these works should be considered an important step, although germinal, in Lo Savio’s painting career. Just by analyzing the origins of his painting, it is possible to understand the next steps of his work. The works at the end of 1958 and early 1959 are, in fact, the start of his artistic path that will result in Space-Light paintings a few months later
From space to movement: the walk as an intellectual dynamic in Diderot\u27s La Promenade du sceptique
Get PDFDiderot\u27s Promenade du sceptique has sometimes been criticised for a somewhat systematic use of allegory, associated with a tripartite division of space summarising and tracing, between the thorns of devotion, the flowers of worldly life, and the chestnut trees of philosophy, the three paths of life available to men. The work\u27s device is nevertheless much more complex and elaborate, and is affected by a diffuse scepticism from within. Open rather than closed, the space and the places of the walk in La Promenade du sceptique are misleadingly the support of an analogical understanding of the world. The writing of the walk becomes a metaphor for the intellectual dynamic that doubts and searches. Movement in its temporal dimension, as a concrete experience, challenges the conception of a geometric space, mocks deism as well as idealism, and opens the way to the experimental method and the materialist hypothesis.Diderot\u27s Promenade du sceptique has sometimes been criticised for a somewhat systematic use of allegory, associated with a tripartite division of space summarising and tracing, between the thorns of devotion, the flowers of worldly life, and the chestnut trees of philosophy, the three paths of life available to men. The work\u27s device is nevertheless much more complex and elaborate, and is affected by a diffuse scepticism from within. Open rather than closed, the space and the places of the walk in La Promenade du sceptique are misleadingly the support of an analogical understanding of the world. The writing of the walk becomes a metaphor for the intellectual dynamic that doubts and searches. Movement in its temporal dimension, as a concrete experience, challenges the conception of a geometric space, mocks deism as well as idealism, and opens the way to the experimental method and the materialist hypothesis
Micrology of the sublime
Get PDFStarting from the seventeenth-century aesthetic micrology, the essay intends to show how the concept of the sublime has, subterraneously, crossed different cultures configuring itself as that infinitesimal fracture that amazes, an abyssal space in which the moment opens showing us the fragments of what has been essential. From Spinoza to oriental culture, of which haiku is an elected expression, the sublime is not, as Burke claimed, distinct from beauty, but is the origin and the end of beauty. It is an "elevated beauty" and anti-monumental, which lurks in our gaze on the everyday and that, through the poetic intuition of the artist, finds restless and amazed emergence.Starting from the seventeenth-century aesthetic micrology, the essay intends to show how the concept of the sublime has, subterraneously, crossed different cultures configuring itself as that infinitesimal fracture that amazes, an abyssal space in which the moment opens showing us the fragments of what has been essential. From Spinoza to oriental culture, of which haiku is an elected expression, the sublime is not, as Burke claimed, distinct from beauty, but is the origin and the end of beauty. It is an "elevated beauty" and anti-monumental, which lurks in our gaze on the everyday and that, through the poetic intuition of the artist, finds restless and amazed emergence