1,721,150 research outputs found
Lo sguardo a picco. Il sublime in Filostrato
No full textThe first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject
Allegories of Immersion
Full text linkFish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, in a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending
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
Forme informi
No full textIl volume prende le mosse e rilancia le inquietudini percettive, esistenziali e teoretiche che l’informe pone all’estetica, alle teorie dell’arte e dell’immagine, oggi come nel passato. L’autore dialoga costantemente con i Visual Studies e le Visual Poetics e propone un’originale nozione di poetica a partire da Michel de Certeau e Foucault: poetica è l’insieme di pratiche, di procedure ed esercizi di saperi con cui cerchiamo di dare senso ai dettagli sensibili, agli choc percettivi, repentini ma durevoli, che ci fanno segno inavvertitamente o violentemente, ed emozionano nel profondo la nostra attenzione estetica e il nostro atteggiamento etico. In una prospettiva tipologica e tematica, il volume considera come esemplari le avventure e i disastri dello sguardo nelle descrizioni d’opere d’arte del retore ellenistico Filostrato di Lemno, nelle origini biologiche della pittura per Rilke interprete di Cézanne, e nelle sopravvivenze di antico e primitivo per Thomas Mann e Aby Warburg. Analizzati i loro repertori iconografici e metaforici, gli usi speculativi ed ermeneutici, queste peripezie rischiose della visione sono momenti esemplari di un’inedita genealogia del discorso estetico sul visuale.The book moves and re-launches the perceptual, existential and theoretical anxiousness posed by the formless to the aesthetic, the theories of art and image, today just like yesterday. To confront such topics, the author dialogues with the contemporary debate on visuality, Visual Studies and Visual Poetics, and remake an original notion of poetic after Michel de Certeau and Michel Foucault–poetic is the set of practices, procedures and exercises of embodied knowledge to give a sense to a moving glance, an aspectual detail or perceptual choc, abrupt but lasting and not necessarily figural or deictic, which signals us inadvertently or violently, deeply exciting our aesthetic attention and our ethic attitude. With a typological and thematic perspective, the book analyses the adventures and the disasters of the gaze into the descriptions of artworks done by the Hellenistic rhetorician Philostratus the Lemnian, the biological origins of Cézanne’s painting for Rilke, and the survivals of the antique and primitive for Thomas Mann and Aby Warburg. Tested by some iconographic and metaphoric topics and philosophical and hermeneutical usages, these dangerous styles of looking have been reported to an inedited genealogy of the aesthetic discourse on visuality and the visual arts
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
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
El vientre de los modernos. Psicología, fisiologia y filologia de la consciencia historíca
Full text link"The ‘modernity’ through the image of food and digestion.” This is the task and the agenda of the physiological and psychological genealogy clearly identified by Nietzsche in a fragment of the autumn of 1888 and uncompromising pursued in all his work. Diagnosis is implacable and made possible by a widespread use of gastrological metaphor, applied to all fields of experience and language by a reckless writing of history. As Valéry and Péguy also illustrate, the experience of contemporary men is in fact poor and sick, characterized by a radical duplicity and a contradiction without synthesis. Not only things, as Marx also shows analysing the goods as the new hieroglyphs marking the saturated space of the metropolis, but also man is double, and his embodied, deeply physiological economy too. His hungry stomach is twofold, because it takes everything but does not nourish at all, it cries of various and heterogeneous excitements, not of real food to be absorbed and transformed, in short it lives by an instant without past or future. The opposite of this logic of illness and insensitivity for too many sensations and sensational choc, and the reverse of this oblivion for too much rapidity, is an extreme being anti- or even pre-modern. In modern times, the training of a genuine clinic criticism about prejudices and supposed self-knowledge involves a regression and an alteration of own historical identities, believes and values. Finally, as Benjamin and Warburg revealed, criticism is like to become again animal and interpretation is like to regain the slowness and melancholy of endless chewing, as a dog or a cow.“La ‘modernidad’ a través de la imagen de la comida y la digestión”. Ésta es la tarea y el programa de la genealogía fisiológica y psicológica identificada con claridad por Nietzsche en un fragmento del otoño de 1888 y firmemente perseguida en toda su obra. El diagnóstico es implacable y es posible por un uso extendido de la metáfora gastronómica, aplicada a todos los campos de la experiencia y el lenguaje por una escritura temeraria de la historia. Como Valéry y Péguy también lo ilustran, la experiencia de los hombres contemporáneos es pobre y enferma y se caracteriza por una duplicidad radical y una contradicción sin síntesis. No sólo las cosas, como además lo muestra en sus análisis sobre las mercancías como nuevos jeroglíficos que marcan el espacio saturado de la metrópolis, sino también el hombre es doble, así como su corporizada y profundamente fisiológica economía. Su estómago hambriento tiene dos caras, porque todo lo toma pero no nutre en absoluto; vocifera acerca de entusiasmos varios y heterogéneos, no sobre un verdadero alimento para ser absorbido y transformado. En resumen, vive por un instante sin pasado ni futuro. El opuesto de esta lógica de la enfermedad y la insensibilidad en busca de muchas sensaciones y shocks sensacionales, y el reverso de este olvido por rapidez excesiva, es un ser anti- o incluso premoderno en extremo. En los tiempos modernos, el entrenamiento de un criticismo genuino acerca de los prejuicios y el supuesto auto-conocimiento implican una regresión y una alteración de las propias identidades históricas, las creencias y los valores. Finalmente, como Benjamin y Warburg lo revelaron, el criticismo es como tornarse otra vez animal y la interpretación es como recuperar la lentitud y la melancolía de un eterno masticar, al igual que un perro o una vaca
Portrait of the artist as an old dog: Of Rilke, Cézanne, and the animalisation of painting
No full textEmbodiments and Art beliefs.
No full textFilippo FIMIANI, Embodiments and Art beliefs, «RES: Anthropology and Aesthetics», vol. 57/58, 2010, pp. 283-298.
ISSN: 0277-1322 (U.S.A). ITALIANO. Cosa succede quando la pittura si emancipa da ogni medium fisico, l’opera d’arte sparisce dal sito espositivo e l’arte diventa immateriale, indiscernibile dallo spazio circostante? Che tipo di esperienza estetica e di comprensione incarnata dell’arte è possibile in queste condizioni, pur sempre programmate e prodotte, forse dissimulate, finalmente enunciate e affermate accanto e al posto di ciò che si presenta con il titolo di opera d’arte? E che tipo di descrizione, di definizione e di interpretazione è necessaria? Che tipo di fenomenologia, di pragmatica, di retorica, di ontologia, è qui convocata? Che tipo di percetti, di effetti e di affetti, di aspetti e di dispositivi, sono messi in gioco in questa relazione estetica senza oggetto artistico? Quando non c’è niente da vedere e da toccare, di quali forme di vita, di quali credenze, di quali qualità, si tratta? Ancora oggi, dopo più di cinquant’anni, l’“Exposition du Vide” di Yves Klein non smette di porre queste e altre domande all’estetica e alla storia dell’arte.What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art
Une esthétique imperceptible
No full textFilippo FIMIANI, Une esthétique imperceptible, numéro monographique sous la direction de Jean-Noël Bret et Bernard Lafargue, Daniel Arasse ou la pensée jubilatoire de l’art, «Figures de l’art», 16/2009, pp. 180-200, ISSN: 1265-0692. (FRANCE)
ABSTRACT. È nella curiositas che Arasse ha mostrato verso artisti contemporanei come Kiefer, Rothko e Paterson che, paradossalmente, si mostra chiaramente la sua estetica. Anche se tale estetica non è mai enunciata come tale, in concetti o nozioni filosofiche, la si può definire con Valéry “impercettibile”, ovvero composta da diverse attitudini e competenze: estetica e scienza dell’arte, filosofia e storia dell’arte, semiologia e stilistica, iconografia e iconologia, sono tutte convocata da Arasse per avvicinarsi il più possibile, quasi intimamente, al “niente” o al je ne sais quoi, alla “cosa” che costituisce il contenuto di ogni opera d’arte e delle immagini in generale e che ci fa sentire, parlare, scrivere. Siamo così doppiamente resi sensibili, tramite alcuni scritti di Arasse sull’arte contemporanea, a un autoritratto involontario del critico e dello storico dell’arte, ma anche allo stile singolare del nostro sguardo al visuale e alle arti visive.C’est dans la curiositas avec laquelle Daniel Arasse s’est intéressé aux œuvres de quelques artistes contemporains comme Kiefer, Rothko et Paterson que, paradoxalement, se montre le plus clairement son esthétique. Même si cette esthétique n’est jamais énoncée en tant que telle en concepts et mots philosophiques, on peut la définir avec Valéry comme «imperceptible», c’est à dire composée de différents attitudes et compétences: esthétique et sciences de l’art, philosophie et histoire de l’art, sémiologie et stylistique, iconographie et iconologie, toutes convoquées par Arasse à s’approcher au plus près, presque intimement, de ce «rien» ou «je ne sais quoi», cette «chose» qui fait le fonds de toutes les œuvres d’art et les images en général et nous fait sentir, parler, écrire, sans fin. Et nous sommes doublement avertis par l’écriture de Arasse, d’un coté, à un autoportrait involontaire du critique et de l’historien en personne et, de l’autre, au style singulier de notre regard au visuel
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