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La sensibilité tactile de l’acteur : exploration et affinement au contact d’objets et de matériaux
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Kirchner e Murnau: ricorrenze iconiche, tematiche e semantiche dalle arti figurative al cinema
Get PDFGerman Expressionism has had from the beginning a multidisciplinary character and the works of the painters, pertaining to that current, have strongly influenced the filmmakers of the subsequent decade. More specifically, it is possible to find in some sequences of Nosferatu by Friedrich Wilhelm Murnau several formal features that have characterized the production of expressionist Ernst Ludwig Kirchner, as well as the direct quotation of some works of him, including The Red Tower in Halle, Two Women in the Street and Five Women in the Street. The reproduction in the frames of specific works of art, the image distortion, even the make-up of actors resume then aesthetic elements first developed by Murnau and are intended to convey to the viewer a sense of anxiety compared to the reality, to the contemporary society, to the city life, even manifesting an inner struggle, that has united Kirchner and Murnau itself. 
Pure Designation. Deleuze’s Reading of Hjelmslev in The Time-Image
Get PDFIn the second chapter of The Time-Image, Deleuze addresses the conditions of possibility of a semiology of cinema. These conditions depend on the relations between cinema and language: under what conditions can cinematic images and signs be understood as a language? In other words, (how) can cinematic images and signs be inscribed in the discursive plane of the signifiable? Discussing Christian Metz’s semiological approach of cinema, Deleuze argues that the structural conditions of linguistics and of post-Saussurian semiology cannot adequately render intelligible the specificity of cinematic semiosis. Drawing on Louis Hjelmslev’s semiotics, Deleuze redefines the specificity of a relation of designation distinct from a relation of signification (strictly linguistic), a specificity that concerns the fact that the designative relation is antecedent and heterogeneous to any signifying relation. Put differently, the very constitution of the sign is redefined: in opposition to semiology, semiotics becomes the study of images and signs as (1) being independent of language in general and (2) expressing a “non-language material”. This article explicates the importance of Hjelmslev’s semiotic theory in The Time-Image by offering a detailed account of the constitution of the sign in Hjelmslev’s Prolegomena to a Theory of Language and by tracing Deleuze’s earlier appreciation of Hjelmslev in Anti-Oedipus and its intricate relation to his appreciation of Jean-François Lyotard’s theory of designation in Discourse Figure
A Brief Account of the Philosophical Relationship between Beauty and Human Ethics
Get PDFThe article analyzes the relationship between the philosophical notion of beauty and the ethical and political life of human beings through the history of Western philosophy, from Plato to contemporary authors
The Authentic Art of the Situationist International
Get PDFTo conceive an art which was able to change everyday life was the main aim of Situationism, an artistic avant-garde active in the Europe of the 60s. The Situationism’s members tried to get the realization and suppression of art through the use of détournement. As a result they got a baroque aesthetic instead of a modern one. 
Hitting the “play” button: the aesthetic values of videogame experience
Get PDFIn just a few decades, there\u27s been the birth and fast rise of a recreational activity that implies the interaction between one or multiple players with electronic devices, normally, known as videogames. Being a very complex process and a multi-sensorial practice, playing with videogames produces intense and fulfilling experiences for all those who engage in such activity. Here, I intend to show how those experiences entail relevant aesthetic – and also cognitive and ethical – values for philosophical discussion
Le forme della cornice
Get PDFAs a simple and ornamental object, the frame, turns into the principal vehicle of an extended philosophical reflexion: it becomes the setting and the connection – Georg Simmel used to define it as “bridge” and “door” - between Art world and Life world. In my work I start by examining the researches that Leon Battista Alberti completed on picture and works of art of his time; passing through the philosophical theories of Georg Simmel, José Ortega y Gasset and phenomenology of Eugen Fink, I have come to Victor Stoichita recent studies which deal with the past Dutch picture and Surrealism of the XX century. Through this path, the reflexion on the setting role and form into the art representation is the central idea that lasts until these days and opens new philosophical sceneries. This study enriches the contemporary debate and gives new meanings and prospects to art interpretation
L’arte di performance di Olivier de Sagazan
Get PDFThis interview to Olivier de Sagazan tackles important aspects of hisperformanceart such as: the relationship with the audience, the ‘here and now’, the reception of his work internationally, modernity and the universality of art
Tra mondano e sensazionale: il malessere dei musei nell’era dei consumi
Get PDFThe essay focuses on the idea of crisis in museums, analyzed through Jean Clair’s work Malaise dans les musées. Starting from the Centre Pompidou, in the age of mass consumption the museum is no longer a place devoted to study and education, but it has become an amusement location and a mass tourist attraction. Mostly thanks to its seductive and appealing architectural structure, the museum itself is now a work of art and the Guggenheim Foundation perfectly embodies the role of museum during the archistar’s era
Per un’etica della mimesi: corpo e redenzione in Th.W. Adorno
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This article examines Adorno’s non-identity thinking and the moral role of mimesis. On the one hand, Adorno criticises Kant’s moral theory, revealing the heteronomy of morality and the untruth of subjective freedom, on the other he defends the utopistic urge of the “transcendental”, moving from finitude and imperfection. Adorno opposes to the bourgeois personality neither a naïve return to nature, nor a getting rid of the subject, but the individual as differentiated coexistence of self and otherness, spirit and nature