1,721,204 research outputs found
Felt-Bodily Resonances. Towards a Pathic Aesthetics
No full textMoving from a (new)phenomenological theory of the lived body (Leib), the text outlines its constitutive (pre-reflective) role in human experience but especialy in aesthetic perception. Against every reductionist and introjectionist objectification of the lived experience, every explanatory hypothesis of associationist and projectivist type, a pathic aesthetics ‒ that emphasizes the affective involvement that the perceiver feels unable to critically react to or mitigate the intrusiveness of ‒ is an adequate investigation of the felt body as sounding board of outside atmospheres and Stimmungen. By means of its specific dynamics and lived “isles”, in fact the felt body feels what happens in the surrounding area without drawing on the five senses and the perceptual body schema. Felt-bodily isles turn out exactly to be both a tool for sensing the affective radiation provoked by atmospheres and quasi-things, and “places” that, communicating with each other and with our consciousness, are themselves quasi-things
Come rain or come shine… The (neo)phenomenological will-to-presentness
No full textThe paper aims at rehabilitating presence (present, presentification and presentness)
from a spatial and temporal viewpoint and opposing against philosophies obsessed
with the tendency to hermeneutically and semiotically defer the presence/present’s
sense of our experience. They fatally reduce present/presence into
a mere elusive moment of transition, totally negligible if compared to the alleged
active transformation of the world. The paper focuses specifically on: a) Gumbrecht’s
recent kulturkritisch approach to presence, b) the neophenomenological
(Schmitz’s) theory of the present as the principle of subjective identity, c) a possible
link between these two rehabilitation strategies through the pathic-aesthetic notion
of felt-bodily presence
Felt-bodily communication: a neophenomenological approach to embodied affects (Sensibilia 10-2016)
No full textAccording to the pathic aesthetics the atmospheric perception should be understood as the first affective-synaestehtic impression of the expressive qualities (or affordances) ontologically rooted in things and quasi-things of the surrounding space. Through its specific dynamics, whose poles are narrowness and vastness, the felt (and not physical) body appears as the precise sounding board (also) of these atmospheric feelings widespread in the (lived) space. The paper a) retraces the neophenomenological theory (Hermann Schmitz) of the ubiquitous communication (incorporation/excorporation) that the felt body constantly generates with the outside world, and b) suggests the thesis that atmospheres are a great example of extended emotions, that is, of embodied affects exactly generated by one of the many forms of felt-bodily communication
April in Paris, this is a feeling no one can ever reprise”. Remarks on urban atmospheres
No full textThe urban atmosphere is the polysensorial-amodal “skin” of the city. Inspired by a pathic aesthetics and the New Phenomenology, the paper investigates what creates the immersive impression of a city, de-axiologises the notion of atmosphere and criticizes the usual idea according to which an urban atmosphere must necessarily mean either a organicistic familiarity or an avant-garde subversion of the social space
Il pensiero dei sensi: atmosfere ed estetica patica
No full textNoi siamo sempre all’interno di atmosfere. Non importa quanto consapevolmente. Prima ancora di vivere in spazi misurabili, viviamo infatti all’interno di emozioni spazializzate, delle quali, per quanto solo vagamente describili , sentiamo con certezza la presenza e spesso anche autorità. Sentiamo, più precisamente, che esse intonano in modo specifico la nostra esistenza, che talvolta ci aggrediscono fino a contagiare profondamente il nostro modo di vivere, e che solo entro certi limiti possiamo loro resistere, tentando magari di progettarle e pianificarle. Ma un’estetica che non si accontenti più (come negli ultimi due secoli) di essere una teoria dell’arte e del giudizio critico su oggetti speciali come le opere d’arte, ma ritorni alla sua definizione originaria di “teoria della conoscenza sensibile e corporea”, non può che essere un’estetica patica: una riflessione filosofica, cioè, su che cosa significhi esporsi a quanto (soprattutto di inatteso) ci accade di provare. In questa nuova prospettiva l’uomo è ancora un soggetto, ma la sua maturità non sta più nel saper essere soggetto di qualcosa, ma nel saper come essere soggetto a qualcosa, come essere all’altezza dei sentimenti atmosferici che il mondo gli offre
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