1,721,431 research outputs found
Improvisation in Painting
No full textIn their contribution, Alessandro Bertinetto and Marcello Ruta argue that, even considering the most radical forms of improvised painting (such as Pollock’s Action Painting, or its quasi-ancestor Cozens’s blotting), key differences remain between improvisational painting and improvisation in performing arts. In particular, viewers do not need to become acquainted with the improvisational process (the pictorial performance) in order to aesthetically experience the produced painting. Still, as the chapter shows through paradigmatic examples, the aesthetic import of improvisation in painting can be articulated in a series of aesthetic properties
BERTINETTO, Alessandro, Eseguire l’inastesso. Ontologia della musica e improvvisazione. Il glifo Ebooks, Colecc. Melisma, mayo 2016.
Full text linkReseña del libro:<p>Bertinetto, Alessandro,</p><p><em>Eseguire l’inastesso. Ontologia della musica e improvvisazione</em>.</p>Il glifo Ebooks, Colecc. Melisma, ISBN: 9788897527343, mayo 2016.</jats:p
Toma de conciencia y experiencia estética
Full text linkEn este artículo discuto las tesis del libro de Georg W. Bertram Kunst: Eine philosophische Einführung (Stuttgart, Reclam, 2005). Se trata, como dice el título, de una introducción filosófica al arte, que, a partir de la pregunta que obsesiona gran parte de la estética contemporanea, ¿Qué es el arte?, y apoyandose sobre algunas conocidas teorías estéticas (en particular las de Kant, Hegel, Heidegger y Adorno; pero otros autores son también utilizados: entre otros Benjamin, Dewey, Goodman, Danto, Gadamer, Derrida), ofrece una explicación filosófica del arte a través de la comprensión de la experiencia que hacemos gracias a él. Central es la idea, de corte hegeliano, que se puede considerar algo como arte, si es capaz de hacernos tomar conciencia, en particulares maneras, de nosotros y del mundo.
Respecto a otros intentos de solucionar filosóficamente la cuestión del arte (pienso por ejemplo al libro de Nigel Warburton The Art Question), la peculiaridad del libro de Bertram es la de afrontar el problema del arte en los términos de la experiencia que hacemos con las obras o los eventos artísticos. Entonces, podemos resumir así su tesis: una obra de arte es tal si hacemos cierta experiencia con ella. Sin embargo para un libro que pretende comprender valorativamente el arte, no es un buen punto de partida separar clasificatoriamente las artes de la artesanía y pasar por alto otros fenómenos típicos de nuestra época (el grafitismo por ejemplo) haciendo experiencia de los cuales podemos tomar conciencia de nosotros y de nuestro mundo de manera quizás más interesante que a través de muchos productos artísticos, de los cuales nos importa conocer tan sólo el precio
What do we know through improvisation?,
Full text linkIn this paper I address the question of whether, how, and what we know through artistic improvisation. Has artistic improvisation a specific cognitive supply? Can this alleged cognitive supply contribute to the aesthetic merit of the performance? And how? In order to answer these questions I will first explain which is exactly the problem we face. Secondly, I will try to give some suggestions to solve this problem
Desrealización e imagen. Anestetización de la experiencia y destino de las artes en la época de la globalización
No full textA primary aspect of globalisation is the transformation of reality into image; this is the last stage of the process of world’s aesthetization/anaesthetization, that converts cultural and artistic differences into indifferent repetitions of the same thing. Moreover the image appears as the very reality, because it dissimulates its image-characters. Therefore the «institutional theory of art» fails, because in a reality that became image the exhibition in institutions cannot be used in order to qualify something as artwork. In order to be distinguished from other simulacrums of the mediascapes, an artwork needs to show the derealization of reality: it must offer the reflection of image as image
Arte e terrore La filosofia dell’arte di Félix Duque e il jazz
No full textThis paper has two parts. In the first part, I discuss aspects of Félix Duque’s philosophy of contemporary art. In the second part, I briefly show that Duque’s arguments about art can be adopted to capture cultural traits of jazz as performative improvisatory practice
Immagine artistica e improvvisazione
No full textL'articolo discute alcuni aspetti, interessanti sotto il profilo estetico e più in generale filosofico, del rapporto tra immagine visiva e improvvisazione nelle pratiche artistiche.
Il rapporto tra immagine e improvvisazione può essere pensato in due direzioni diverse. Per un verso, possono essere considerare i possibili poteri esercitati dall’immagine ovvero gli effetti dell’immagine (mentale o figurativa) sull’improvvisazione, in particolare nelle arti performative, e specificamente in musica. Per altro verso, si può considerare la rilevanza del processo di produzione dell’immagine figurativa per l’immagine come risultato di questo stesso processo.
L'articolo si concentra soprattutto su questo secondo versante de rapporto tra immagine e improvvisazione
La funzione logica dell’immagine nel pensiero trascendentale di Fichte
No full textIn this article, the Author maintains that Fichte employs the concept of the image (Bild) in order
to formulate transcendental logic as a self-grounding, self-referential and recursive
thinking device. Fichte considers the image as the “absolute concept”, the “original
and primeval” concept, because it is the main generative element, the basis and the
“engine”, as it were, of transcendental logic. However, at least at first glance, the concept
of the image seems a little inadequate for developing a transcendental logic. In the
first place, one may reasonably argue that traditionally it has to do with aesthetics, not
logic. It seems rather odd to place it at the genetic foundational core of logic. Moreover,
also the reference to Kant’s doctrine of schematism, which should be mentioned
as one of the historical antecedents of Fichte’s Bildlehre, does not suffice to explain Fichte’s
particular understanding of the image, which differs from the widespread concept
of the image as regarding factual representations. On the contrary, Fichte’s Bildbegriff
is about the idea of a circular genetic-performative mutual dependence of
thinking and thought. Hence, the Author tries to answer three intertwined questions:
How can the image be conceived of as a logical concept and not an aesthetic one?
How can one justify the claim that the image is the generative concept of logic? How
can the concept of the image meet the requirements of apriority, self-reference and
self-foundation
MUSICAL ONTOLOGY: A VIEW THROUGH IMPROVISATION
Full text linkA large part of the ontology of music is formalistic and objectivistic: it regards musical works as kinds of objects, whether abstract or concrete, which are to be understood as formal structures. The problem with this view is that this is not enough to explain our musical experience: music is not only heard and understood in terms of objects, facts or structures, but also in terms of events, activities or processes, that take place or occur here and now.
In this paper I will offer a programmatic hint of how musical ontology can accommodate this ordinary intuition. In order to do that, I will take into consideration the practice of musical improvisation. The focus on improvisation, instead of on works, is useful to reshape the discourse of musical ontology in non-formalistic and non-objectivist terms
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