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REBALANCE Talk with Filippo Fimiani
No full textFilippo Fimiani, June 9th 2022
In this Rebalance Talk, Professor Lisa-Marie Schaefer (Researcher of Mobility Psychology), Cristina Marolda (Architect, expert in mobility) and Ghadir Pourhashem (Expert in transportation planning) spoke with Filippo Fimiani , Professor of Aesthetics and Visual Culture at the University of Salerno.
Firstly, Fimiani remarks that mobility is a concept-assemblage, composed by body motility or motricity, mobility by transportation means, and digital mobility by mobile devices. Mobility points to the Latin Movere, which is one of the three tasks of “excellent rhetoric” (Cicero, De oratore), with Docere (to teach) and Delectare (to delight), and it means to change place and to set in motion, but also to affect and transform. Being in motion mobilizes emotions and actions, affects and actually effects.
Mobility is a concept-assemblage, composed by body motility or motricity, mobility by transportation means, and digital mobility by mobile devices.
Any aesthetic experience is ethic, because is not isolated and about the static beauty of works of art or artefacts aestheticizing the urban or natural landscape – such as public artworks, monuments or advertisements –, but it is primarily an embodied mobility of a living being in a complex form of life. Any moving aesthetic experience is an embedded, grounded, and situated entanglement with the built and the living, and is always kinaesthetic, somaeasthetic (Ronald Schusterman ed., Bodies in the Streets. The Somaesthetics of City Life, Brill 2019), technoaesthetic (Gilbert Simondon, On Techno-aesthetics, 1982, Parrhesia, 14, 2012) – because we are natural-technical beings negotiating with the environment –, and narrative – because, as Ulrich says in Musil’s The Man without Qualities as he passes from the monotony of the countryside to the moving sensorial chaos (the aisthesis) of the changing city, “in the basic relationship they have with themselves, nearly all men are narrators” –.
Fimiani finds that today nearly all human narratives are digital and mobile: an increasing storytelling and a plethora of icon-texts are created and shared by our mobile audiovisual devices (Max Schleser, Marsha Berry eds, Mobile Story Making in an Age of Smartphones, Springer Palgrave 2018).
Today, mobility implies encounters and co-presences mediated by portable technologies, that mobilize a particular form of cinematic sense-making between people be-longing in, and participating to, a digital public space. User-generated by bottom-up practices, an existential, performative, creative and critical digital sensus loci communis can arise from, or against, the commonplaces of the contemporary globalized mobilization. Selfies and stories shared on the social media can activate not only likable consumption (Delectare) and functional information (Docere), but different ethic-aesthetic experiences and behaviors (Movere).
Today, mobility implies encounters and co-presences mediated by portable technologies, that mobilize a particular form of cinematic and narrative sense-making between people be-longing in, and participating to, the digital public space and common storytelling.
Fimiani discusses some artistic performances (Sweza, Graffyard 2010, Simon Weckert, Google Maps Hacks 2020) as examples of a mobile counter-storytelling that result in an intensification of our everyday aesthetic experience, and some migrant narratives (Koen Leurs, Irati Agirreazkuenaga, Kevin Smets, Melis Mevsimler eds., European Journal of Cultural Studies, 23/5, 2020) as powerful digital evidences that end up in a moral extension of our togetherness sensibility and political agency for more innovative and inclusive real public policies of mobility
La cosa della pittura
No full textPresentazione critica della mostra di Massimo Latte alla Certosa di San Giacomo a Capri (8 settembre - 7 ottobre)nell'ambito della rassegna internazionale annuale di Arte Contemporanea
Impronte d'anima. Espressione e figuralità in pittura
No full textThe proliferation of physiognomic theories and practical physiognomic primers in art criticism, aesthetics and visual studies, represents a fundamental bet: how learn to see and read a picture not in iconographic or stylistic field but in expressive and symptomatic and empathic way? As Benjamin remarks, a competent behavior-as connoisseur in visual arts, or a detective in crime story, and so on by Carlo Ginzburg’s actors of so called evidential paradigm for the humanities-is really hard to be easily legitimate with a post-aura et inter-medial matter. But physiognomic behavior still survives and he is very much operative in finding analogies and symptoms in spite of never having become explicit theory. Such this paper helps us to break out of the fruitless opposition between semiotics and hermeneutic, seeing and reading, picture-still or moving, or living being- and text or verbal, expression and information, and so on. The test-case is a surrealistic painting of a so philosophical artist as Magritte, Les Jours gigantesques (1928), analyzed with artistic and literary reference points that so pervasively enrich it
Lieux communs cinétiques
Full text linkFilippo FIMIANI, «Lieux communs cinétiques», Images Re-vues [En ligne], hors-série 4 | 2013, mis en ligne le 18 février 2013, consulté le 21 février 2013. URL : http://imagesrevues.revues.org/29624. ISSN: 1778-3801. (FRANCE). ITALIANO. La ricerca di Aby Warburg ha avuto una grande rinnovata eco nella sfida avanzata oggi dalle scienze cognitive per un nuovo campo e un nuovo modello di iconologia critica. Tale nuova iconologia critica comporta una ridefinizione dello statuto stesso delle immagini e del campo della storia dell’arte, ma anche l’invenzione di nuovi oggetti, media, figure e motivi. A partire dalla nozione di ‘simulazione incarnata’, proposta da Vittorio Gallese e impiegata da David Freedberg, si possono ripensare due nozioni chiave del lessico warburghiano-Pathosformeln e Nachleben-come modelli inter- o popst-mediali di un’estetica energetica e dinamica Pathos lo statuto dell’imitazione e dell’esperienza estetica delle immagini-in-movimento. Esemplare, il corpo danzante della Ninfa in un episodio della serie televisiva americana Mad Men, studiando il quale il testo considera l’imitazione alla luce della relazione tra emozione e movimento, corpo in movimento e tatto, approfondendo in particolare la nozione di Embodiment, centrale nella filosofia della mente e nella lettura neuroestetica, in relazione alla nozione di Verkörperung, d’incorporazione, proposta già da Robert Vischer. Infine, si insiste, sull’impegno motorio ed empatico dello spettatore filmico, discutendo anche la sopravvivenza della iconografia scientifica riguardante l’illusione tattile in alcune opere dell’artista surrealista Max Ernst.ENGLISH. Aby Warburg’s work experience has an obvious new interest for the challenge of the cognitive sciences to a new Critical Iconology’s model and field, including a re-definition of the images, of the art history frame and also the invention of new subjects, media, motifs and figures. With the notion of ‘embodied Simulation’ proposed by Vittorio Gallese’s team and used by David Freedberg, it will be possible to reconsider the interpretation of “Formulas de pathos” (Pathosformeln) and of the “Survivance” (Nachleben) as the trans-or post-specific medium models of a so-called energetic and dynamic aesthetic of moving images-e.g. the dancing Nymph of an episode of the American period drama television series Mad Men. In this case study, the paper focalises the statute of the imitation in light of the relationship between motion and emotion, moving body and touching, an in-depth attention is given to the notion of Embodiment, a central idea in the philosophy of the mind and neuro-aesthetic appraisal, especially relative to the notion of Verkörperung, of incorporation, proposed by Robert Vischer too. Finally, the paper insists on the beholder’s cinematic and empathetic engagement by the fimic aesthetic relationship, while discussing the survivance of scientific iconography on the tactile illusion into some surrealistic paintings of Max Ernst
Premessa
No full textThe proliferation of physiognomic theories and practical physiognomic primers in art criticism, semiotics and linguistics, aesthetics and visual studies represents a fundamental response to the epistemic crisis of humanities’ paradigm. How learn to see and read the phenomena in our sociological, political and cultural disorientation today? How the physiognomic modes of comprehension become a vital necessity-as in the ordinary verbal communication and everyday life human interaction illustrated by Erving Goffman? As Benjamin remarks, a competent behavior-as connoisseur in visual arts, or a detective in crime story, and so on by Carlo Ginzburg’s actors of so called evidential paradigm for the humanities-is really hard to be easily legitimate in the post-aura et post-medial specificity era; But physiognomic behavior still survives and he is very much operative in finding analogies and symptoms in spite of never having become explicit theory. Such a book like this may help us to break out of the fruitless opposition between semiotics and hermeneutic, seeing and reading, picture-still or moving, or living being- and text or verbal, expression and information, and so on. Essays by Federico Albano Leoni, Marina De Palo, Sara Fortuna, Luca Cerchia, Filippo Fimiani, Antonella Trotta, Silvana Turzio, Vincenzo Spisso, Alfonso Amendola
Aesthetics in Times of Contagion
No full textThe COVID-19’s pandemic represents a very spot of punctuational change in the evolution of the paradigms of aesthetic experience. The distal character of interaction, transmission, fruition and creation has risen with enough force to give the ultimate spin to a reorganization of fundamental categories of the aesthetics and experience
Forme di visualizzazione del sé quantificato
No full textIl presente paper intende mettere a fuoco una direttrice dell'auto-configurazione identitaria che pone al
centro della propria progettualità i dati. Con l'affermarsi della "cultura metrica" (Ajana 2018) i dati personali
hanno assunto una rilevanza cruciale, non solo ricostruiscono i diversi ambiti del nostro vissuto quotidiano,
ma ci permettono di coglierne i pattern nascosti, sconosciuti (Sampaio, Ribas, Angelo 2019). L'autoritratto
nell'era dei Big Data cambia pelle e si riposiziona al crocicchio tra self-tracking e quantificazione, tra
automatismo e processi computazionali, per dare vita a forme di visualizzazioni funzionali che restituiscono
la nostra esperienza individuale. Il saggio, dopo un posizionamento teorico del data portrait, prenderà in
analisi alcuni studi di caso nel panorama artistico contemporaneo
Fisiognomica del senso. Immagini Segni Discorsi
No full textThe proliferation of physiognomic theories and practical physiognomic primers in art criticism, semiotics and linguistics, aesthetics and visual studies represents a fundamental response to the epistemic crisis of humanities’ paradigm. How learn to see and read the phenomena in our sociological, political and cultural disorientation today? How the physiognomic modes of comprehension become a vital necessity-as in the ordinary verbal communication and everyday life human interaction illustrated by Erving Goffman? As Benjamin remarks, a competent behavior-as connoisseur in visual arts, or a detective in crime story, and so on by Carlo Ginzburg’s actors of so called evidential paradigm for the humanities-is really hard to be easily legitimate in the post-aura et post-medial specificity era; But physiognomic behavior still survives and he is very much operative in finding analogies and symptoms in spite of never having become explicit theory. Such a book like this may help us to break out of the fruitless opposition between semiotics and hermeneutic, seeing and reading, picture-still or moving, or living being- and text or verbal, expression and information, and so on.
Essays by Federico Albano Leoni, Marina De Palo, Sara Fortuna, Lucz Cerchiai, Filippo Fimiani, Antonella Trotta, Silvana Turzio, Vincenzo Spisso, Alfonso Amendola, Maggie Cardelùs
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