1,317 research outputs found
“Sposare la notte”. Esperienze estetiche e atmosfere urbane camminando nella periferia di Palermo
No full textNel corso del Novecento, la città diventa un palcoscenico privilegiato per l'arte contemporanea, grazie al desiderio degli artisti di uscire dai circuiti istituzionali e sperimentare nuove forme espressive. Tra queste, il camminare in ambiente urbano si configura come una pratica artistica capace di trasformare il gesto quotidiano dello spostarsi in un’esperienza estetica. Questo saggio esplora il valore estetico del camminare come forma d’arte attraverso la lente dell’estetica delle atmosfere di Gernot Böhme, che concepisce l’estetica come scienza della percezione e conoscenza sensibile. Dopo una ricognizione sulle radici storiche di questa pratica nei movimenti artistici del Dadaismo, Surrealismo e Situazionismo, il saggio si concentra su un caso di studio specifico: la performance Sposare la notte di g.olmo stuppia, sviluppata in quattro episodi tra Venezia e Palermo nell’ambito del Padiglione Italia della 59ma Biennale di Venezia (2022).
L'analisi si focalizza sul terzo episodio della performance, svoltosi a Brancaccio, quartiere periferico di Palermo, caratterizzato da un intreccio di storia industriale, degrado urbano e memoria antimafia. Partecipando personalmente all’evento, l’autrice esamina come il percorso abbia creato un’esperienza multisensoriale e immersiva, generando atmosfere contrastanti capaci di stimolare nuove modalità di percezione e appartenenza alla città. Infine, il saggio riflette su come queste pratiche artistiche possano non solo arricchire il rapporto con gli spazi urbani, ma anche favorire processi di rigenerazione sociale e culturale, proponendo una rinnovata estetica del vivere urbano.During the 20th century, cities became a privileged stage for contemporary art, driven by artists’ desire to break away from institutional circuits and experiment with new forms of expression. Among these, walking in urban environments emerged as an artistic practice capable of transforming the everyday act of moving into an aesthetic experience. This essay explores the aesthetic value of walking as an art form through the lens of Gernot Böhme's aesthetics of atmospheres, which conceives aesthetics as a science of perception and sensitive knowledge. Following a historical overview of this practice’s roots in Dadaism, Surrealism, and Situationism, the essay focuses on a specific case study: Sposare la notte (“Marrying the Night”), a performance by g.olmo stuppia developed across four episodes in Venice and Palermo as part of the Italian Pavilion at the 59th Venice Biennale (2022).
The analysis centers on the third episode of the performance, held in Brancaccio, a peripheral district of Palermo marked by a complex history of industrial rise, urban decay, and anti-mafia memory. Based on the author’s participation, the essay examines how the route created a multisensory and immersive experience, generating contrasting atmospheres that encouraged new ways of perceiving and belonging to the city. Finally, the essay reflects on how these artistic practices not only enrich relationships with urban spaces but also promote processes of social and cultural regeneration, proposing a renewed aesthetic for urban living
Some Perspectives on Leibniz's Nominalism and Its Sources
No full textThe paper explores the presence of a Nominalist inspiration underlying Leibniz's logic and metaphysics, from the early appreciation of Ockhamist tradition to the logico-ontological reflections of the mature years. In particular, the paper assumes as its leading thread Leibniz's confrontation with Hobbes and the problem of the semantics of abstract terms
Analisi dell’attenuazione acustica di sistemi a setti per applicazioni industriali
No full textIn campo industriale l’utilizzo di sistemi silenziati riveste un ruolo di fondamentale importanza per un efficace contenimento del rumore. La necessità di garantire portate d’aria sufficienti ad impianti termotecnici o meccanici, che necessitano di un ricambio continuo, porta a studiare soluzioni tecnologiche ottimizzate per questo scopo. I sistemi di attenuazione acustica maggiormente utilizzati in questo campo risultano essere i setti afonici posizionati in parallelo ad una certa distanza, composti da una struttura scatolare metallica con le facce parallele al flusso d’aria realizzate con rete metallica o lamiera forata e con all'interno materiale fonoassorbente fibroso. In questo lavoro viene presentata una sperimentazione effettuata in laboratorio per valutare l’attenuazione di varie tipologie di sistemi a setti, considerando diverse lunghezze e distanze tra gli stessi. Viene inoltre presentato un confronto con le analisi teoriche esistenti e presentate delle correlazioni tra potere fonoisolante e caratteristiche geometriche dei setti estrapolate dai dati sperimentali ottenuti. La sperimentazione è stata condotta presso il Laboratorio di Acustica LabAcus del Dipartimento di Ingegneria Industriale dell’Università degli Studi di Padova
Antibiotics Usage in Special Clinical Situations
No full textMedicine and the treatment of infectious diseases are increasingly focused on patient-tailored diagnostics and therapy [...]
Editorial for the Special Issue: “Antibiotic Use in Clinical Infection: How to Reinvent Old Molecules and How to Squeeze out New Ones”
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Il rumore della politica, in Retorica. La macchina del dire nella comunicazione pubblica e privata, a cura dui Marcello Di Bella, Bologna, Bononia University Press, 2014, pp. 67-77.
No full textIntroduction to Aesthetics and Affectivity, n. 60 (1/2021) of The Polish Journal of Aesthetics
No full textEmotions, feelings, and, generally, the whole sphere of affectivity make up one of the most fundamental elements of human life, and also play an essential (although sometimes problematic) role in art and aesthetic experience. In this regard, let us simply consider this: on one hand, it is certainly possible to think and talk of something like a “common world” in terms of sensations shared by all human beings; on the other hand, if we focus on each individual’s emotions and feelings, and the way the latter often condition our perception of the real, this same notion becomes somewhat ambiguous. If this is true concerning our experience of the world in general, it is even truer and clearer in the specific case of our experience with art. Reflections on the fundamental role played by affectivity in the whole realm of human experience leads us to recognize, for example, that every experienced object, apart from its purely factual properties, presents some “splits” into which the subject fits, so to speak—specifically, to recognize (following Merleau-Ponty) that our description of reality, even as it appears in perceptual experience, is always full of “anthropological predicates.” This becomes fully apparent if we consider such experiences as fantasizing and dreaming (or, in a more radical and even dramatic way, certain psychological pathologies in which the subject’s “private world,” especially influenced by his/her emotions and feelings, sometimes almost completely eclipses evidence of what we conventionally consider “real”), and also applies to a great extent to art and aesthetic experiences of different kinds. From Plato and Aristotle to modern and contemporary times, philosophers have always assumed a close connection between art and what we may call the realm of affectivity (passions, feelings, emotions), sometimes also developing forms of skepticism and suspiciousness towards them as supposedly non-rational or irrational components of human life. However, throughout the history of philosophy there have always been also other voices, so to speak, that have proposed to think about affectivity, feelings, and emotions in a different way, leading to identification with emotional and even instinctual aspects, such as that of the feeling of horror, no less than with the obscure origin of the brightness of ancient Greek culture and art (Nietzsche), or to acknowledgment of the undeniably powerful and indeed constitutive role of “attunement” and “mood” in human existence (Heidegger), or to the proposal for the rediscovery and rehabilitation of the specific “intelligence of emotions” (Nussbaum). Of course, philosophical reflection on affectivity, with a specific focus on its role in the aesthetic dimension, can also lead to questioning of the validity and appropriateness of categories such as “rational” and “irrational” that we sometimes tend to use in an easy, unproblematic, and somehow dualistic way, both in everyday language and in philosophical discourses. In fact, it is a widely shared and quite common belief that our feelings and emotions (or at least some of them) are irrational, but it is also true that many philosophers and especially artists (poets, novelists, composers, painters, performers, etc.) have shown that it is often very difficult to simply draw a line sharply differentiating between the rational and emotional components of our knowledge, inasmuch as the affective component is not at all marginal in the general economy of our convictions and beliefs
Il rumore della politica, in Retorica. La macchina del dire nella comunicazione pubblica e privata, a cura dui Marcello Di Bella, Bologna, Bononia University Press, 2014, pp. 67-77.
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Amadigi e la bella Oriana (1932) di Elena Primicerio: un primo approccio
No full textQuesto articolo propone un primo approccio ad Amadigi e la bella Oriana, opera di Elena Primicerio pubblicata a Torino nel 1932. Si tratta di un adattamento per ragazzi del romanzo cavalleresco spagnolo Amadís de Gaula (1508), che precede di più di trent’anni la prima traduzione italiana moderna del testo. Si raccoglieranno alcune notizie utili a tracciare un profilo biografico dell’autrice e a intendere il contesto di edizione dell’opera, uscita durante il Fascismo all’indomani di un controverso soggiorno di docenza dell’autrice all’università di Siviglia.This article offers an initial approach to Amadigi e la bella Oriana, a work by Elena Primicerio published in Turin in 1932. The work is an adaptation for children of the Spanish chivalric novel Amadís de Gaula (1508), which predates the first modern Italian translation of the text by more than thirty years. Some useful information will be collected to trace a biographical profile of the author and to understand the publishing context of the work, which was published during Fascism in the aftermath of a controversial teaching stay of the author at the University of Seville
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