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Claudel e la poetica della pittura
No full textPaul Claudel’s Introduction to Dutch painting, printed in 1935, can be read as a significant departure from the dominant realistic view of Dutch painting, namely by Hegel, Tain and Thoré-Burger, and after. This work has received a strongly philosophical and aesthetical attention by Maurice Merlau-Ponty; Henry Maldiney and Gilles Deleuze, but a too little attention by history of art and art criticism, although Jan Bialostocki calls its author a sensitive interpreter. Following the long tradition of French writers of Salons─Diderot; Baudelaire, Zola and Fromentin─, very close to Valéry’s writings on paintings and relationship between verbal and visual, word and image, always in a critical way into the field of Mallarmé poetics, Claudel focuses abstraction and memory more than iconographic claim, and thermalizes the metaphysical matter of the pictures and depicted fictions
Nota, in CONTE P., FIMIANI F., WEEMANS M. (eds.), Je est un autre. Mimicries in nature, art and society
No full textCopies which are only mine: the poem by Luigi Trucillo is specifically
written for this issue of «Aisthesis»(vol. 9, n. 2, 2016), edited by CONTE P., FIMIANI F., WEEMANS M, Je est un autre. Mimicries in nature, art and society. It is a witty and cruel exercise of self-reflection about
his work as poet. But this auto-analysis is not just about the originality and the plagiarism
set up by the writer against himself. The poem reveals the relationship of the alleged
artist’s uniqueness with a camouflaged auto-mimesis or a dissimulated auto-simulation
made up through replicas and repetitions of themes, formulas and styles. It sounds like a
refrain of Rimbaud’s Je est un autre: «the other is the self-expropriated self», a clandestine
lookalike. Trucillo affirms that the poet’s style is «a raptus of / an empathic snatching».
Finally, the human style is not a clean break with the world: rather, it is a sudden and
dangerous theft of the living matter of all beings and things – not only through feeling, but
also through language
Introduzione alla pittura olandese
No full textPaul Claudel’s Introduction to Dutch painting, printed in 1935, can be read as a significant departure from the dominant realistic view of Dutch painting, namely by Hegel, Tain and Thoré-Burger, and after. This work has received a strongly philosophical and aesthetical attention by Maurice Merlau-Ponty; Henry Maldiney and Gilles Deleuze, but a too little attention by history of art and art criticism, although Jan Bialostocki calls its author a sensitive interpreter. Following the long tradition of French writers of Salons─Diderot; Baudelaire, Zola and Fromentin─, very close to Valéry’s writings on paintings and relationship between verbal and visual, word and image, always in a critical way into the field of Mallarmé poetics, Claudel focuses abstraction and memory more than iconographic claim, and thermalizes the metaphysical matter of the pictures and depicted fictions
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
Occhi pieni e mani vaganti. Movimenti, emozioni, astrazioni.
No full textFilippo FIMIANI, Occhi pieni e mani vaganti. Movimenti, emozioni, astrazioni, «Fata Morgana», 12/2010, pp. 147-164. ISSN 1970-5786.
ITALIANO. Una piccola sequenza da un episodio della serie televisiva Mad Men in cui la relazione sensoriale emozionale tra lo spettatore e un corpo in movimento, precisamente un corpo danzante, è l’oggetto di questo articolo, che intende così verificare la cosiddetta naturalizzazione della fenomenologia e del corpo vissuto operata dalle scienze cognitive applicate agli studi visuali. L’autore mostra anche i rapporti tra la cosiddetta simulazione incarnata e una memoria simbolica e iconografica profonda, e discute in particolare la polarità tra proiezione e introiezione, attività e passività nell’esperienza empatica delle immagini in movimento.A short filmic example from the AMC's award-winning series Mad Men in which the sensorial and emotional relationship between the spectator and a moving body, i.e., a dancing body, is explicitly put into play. The essay wants to deal with the so called naturalization of phenomenology and of the living body, trained by the cognitive sciences reading the visuality. The author shows the relationship between the so called ‘embodied Simulation’ and a symbolic and iconographic deep memory of the pictures, and he gives an in-depth attention to the polarity between projections and introjections, activity and passivity of the spectator’s body during the empathic experience of the moving pictures
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
Une habitation fabuleuse. Frontières, limites et porosités du lieu du savoir
No full textDespite all the banter about philosophy being a discipline in the Modernity, the question about the discursive and ontological boundaries remains, whether philosophy produces knowledge, or not, after the Cartesian’s model. In his discussion, Fimiani related Descartes’ philosophical speech act as an auto-representation too, and reads the Discours as a Tableau. Discussing Descartes’s picture, he reveals the ideological fields, rhetorical sources and morphological models of philosophical authorship as an extra-disciplinary moment in history of philosophy but in art history too. The architectural analogy of tabula rasa, destruction and reconstruction of the room of Cogito’s one's own, is interpreted as theological intentioned despite his atheist value. Keys for this reading are the critics of Paul Claudel and Michel Péguy’s writings on Descartes, and the genealogy of Nietzsche
Arte poetica
No full text«A book full of books»: that is how Paul Claudel (1868-1955), one of the most important French poets and playwrights of the 20th century, defines his Art Poétique, his only explicitly theoretical and philosophic work. Written in China between the end of the 19th and the beginning of the 20th century, Art Poétique bears the evidence of the decline of positivism and symbolism and is influenced by the new neo-Thomist spiritualism. Art Poétique provided the basis for the entire poetics of Claudel, who returned and reelaborated its theme and images in original ways in his plays and poems, as well as in such exegetic prose essays as Introduction à la peinture hollandaise, which inspired philosophers like Bachelard and Wahl and informed Merleau-Ponty's and Maldiney's reflections on the visual arts.
Influenced by metaphorology, the present study analyzes the connections and contrasts between the various lexicons and notions that, though different and at time almost incompatible, are brought together in Claudel's writing, which draws from Thomas Aquinas and Mallarmé, Poe and Augustine. The debate regarding the imitation of the poiesis of nature and the autonomy of art, the tension between the stable identity of form and the fluctuating forces that at once constitute and transgress it, the relationship between formation and apocalypse, between morphologic and eschatological variation, the problem of the legibility or figuration of the aesthetic world, the dichotomy between knowing and seeing: these are the issues that reveal how Claudel's theologic aesthetic is not an ideological philosophy of art or a specialistic reflection on poetic and rhetorical institutions. Rather, his aesthetic is an ambitious cosmogony of the 20th century and a complex ontology of living forms that, to this very day, deserves to be examined in light of the anxieties it expresses and the issues it raises, even more than for the solutions it proposes
Lautréamont
No full textGaston Bachelard is acclaimed as one of the most significant modern French thinkers. From 1929 to 1962 he authored twenty-three books addressing his dual concerns, the philosophy of science and the analysis of the imagination of matter. In 1939, the famous French scientist-psychologist-literary critic provides a virtual bestiary for depth psychology and literary criticism in his study of Isidore Ducasse, known by the pen-name Lautréamont and admired as a cult phenomenon by the Surrealists. Yet critics are often puzzled as to what to make of this book hardly nourished by contemporary poetry and literature, but also very close─in a critical way─to Bergson’s philosophy of time and action, Sartre’s phenomenology of embodiment and nausea, and Freud’s depth psychology of libido. Today, the influence of this book can be felt in the disciplines as cognitive sciences or neurobiology─namely in their redefinition of empathic and embodied sources of metaphoric creaction─and in the new debate on the gap between human beings and animals. The philological apparatus is by the editor
Just a Mess. Défiitions Analogies Dialectiques
No full textThe paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are
analyzed through facial recognition software.Filippo Fimiani (« Just a mess. Définitions, analogies, dialectiques ») se penche
sur un long-métrage cult des années 1960, Blow-Up (1966) de Michelangelo
Antonioni, dont on mentionne souvent une séquence célèbre, celle dans laquelle
le protagoniste, le photographe Thomas (considéré ici comme un « personnage
conceptuel »), agrandit à plusieurs reprises les photographies qu’il a réalisé dans un
parc, afin de trouver une réponse au mystère qui entoure l’assassinat d’un homme :
un grossissement qui mène, d’un côté, à une perte progressive de définition des
images, avec le grain de l’image argentique qui devient de plus en plus évident,
mais aussi, de l’autre, au surgissement, à partir de la matière même de l’image argentique,
d’un détail fondamental qui aidera à résoudre le mystère. Ce qui intéresse
Fimiani dans cette séquence est le lien entre référentialité indiciaire et évidence
documentaire, entre degrés de définition et pouvoirs d’authentification. Fimiani
analyse aussi les liens qui s’entrelacent, dans le film, entre les photographies de
Thomas (réalisées par Don McCullin) et les tableaux peints par un autre personnage
du film, Bill (réalisés par Ian Stephenson), mais aussi, en dehors du film, avec toute
une série d’exemples provenant de la production artistique et de la culture visuelle
de l’époque : les images en très basse définition de l’assassinat de Kennedy à Dallas
(le fameux Zapruder Film), le portrait de Lee Harvey Oswald réalisé par Sigmar
Polke en simulant la technique de la demi-teinte, les photographies de guerre de
Don McCullin et les photographies de mode de David Bailey, les Random Earth
Studies de Mark Boyle et Joan Hills, les Matériologies et les Texturologies de Jean
Dubuffet, ainsi que Zen for Film de Nam June Paik. Le texte de Fimiani aborde
aussi deux installations contemporaines qui ont essayé de revenir sur les enjeux
de la séquence photographique du film d’Antonioni : Blow-Up Blow-Up (2010) de
Joan Fontcuberta et Portrait Landscape (from the Object Classifier series) (2015)
de John Houck, une installation dans laquelle des photogrammes de Blow-Up sont
analysés à travers des logiciels de reconnaissance faciale
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