1,721,196 research outputs found
Depicting Motion in Static Images
No full textThis publication originates from and develops the author’s doctoral thesis. The topic it addresses – the depiction of motion in static images – implicitly runs through the entire tradition of aesthetics and the psychology of art, yet it has never been subjected to a systematic and rigorous analysis. This work aims to fill that gap. Across its three chapters, the author examines the nature of various static images that are commonly regarded as effective in suggesting motion: are these truly pictorial representations – that is, depictions – of such a property? The analysis of these images – from photographs capturing people in the midst of dynamic actions to Futurist paintings, from long-exposure photography to optical illusions of movement – not only allows this question to be addressed but also provides insights into the possibilities and limits of depiction, as well as the theories that attempt to account for it
"La proposizione, una cosa singolare!". Rorty lettore di Wittgenstein
No full textIl saggio mette a confronto la filosofia neopragmatista di Rorty con quella critico-trascendentale di Wittgenstein: se Rorty assume una prospettiva naturalizzata, anti-fondazionale e post-filosofica, Wittgenstein, invece, sviluppa il criticismo kantiano ripensando l’idea di “rappresentazione” come paradossale identità-differenza di autoreferenza ed eteroreferenza.This essay compares the neopragmatism philosophy of Rorty and the critical-transcendental philosophy of Wittgenstein: if Rorty assumes a naturalized, anti-foundational and post-philosophical perspective, Wittgenstein, instead, develops the Kantian criticism by rethinking the idea of “representation” as paradoxical identity-difference of self- and hetero-reference
Oggetti semi-opachi. Sulla filosofia dell’arte di Arthur C. Danto
No full textIl volume analizza la filosofia dell’arte di Danto, a partire dall’idea delle opere come oggetti ‘trasparenti’ e ‘opachi’ allo stesso tempo: le opere d’arte sono percettivamente identiche (indiscernibili) agli oggetti, ma ontologicamente differentiThis book analyses Danto’s philosophy of art, starting from the idea of the artworks as objects “transparent” and “opaque” at the same time: works of art are perceptively indiscernible but ontologically different from object
Arte ed estetica in Nelson Goodman
Full text linkThe philosophic and epistemological contributions of Nelson Goodman (1906-98), one of the most important analytical philosophers, are widely known and studied. However, his writings on art are, to this day, mostly approached from a semiotic point of view. The aim of the present volume is to foreground the “aesthetic” horizon of his thought. The dimension of aisthesis, in fact, became more and more central to his work, revealing a shift from epistemology to aesthetics which culminated in his notion of “philosophy as understanding”. Goodman thus opens the analytical tradition to an aesthetic dimension, offering a unitary vision of the different symbolic and artistic productions, as well as of knowledge. Art is not an expression of a meaning to be found elsewhere, nor an activity for its own sake. Rather, it is a form of understanding, and the aesthetic experience is not limited to the appreciation of a supposed world of artifacts, but rather enables understanding and experience.
This volume addresses some of the major theoretical concerns of Goodman’s aesthetic approach: the problem of representation and that of “fictions” as productive of “objects of experience”; his critique of “resemblance theories” and his going beyond Peirce’s distinction between “natural” and “conventional” signs; the functionalist response to the debate on whether or not art is definable; the “symptoms of the aesthetic”; the intransitiveness and particularity of the work of art; the distinction between “autographic” and “allographic”, as well as between “copy” and “replica”; the notion of “activation” and the relationship of identity-difference between work of art and object; the relationship between the emotional and the cognitive, and the reconception of “knowledge” in terms of “understanding”
La storia dell’arte nell’epoca post-storica
Full text linkIl saggio esamina la tesi di Danto della “fine della storia dell’arte”, concentrandosi in particolare su: (1) l’intreccio tra storia dell’arte “immanente” e storia dell’arte come “narrazione”; (2) la differenza tra “storia” e “storicità”; (3) la possibilità di una storia dell’arte nell’epoca post-storica. La principale preoccupazione è che, nel mondo dell’arte descritto da Danto, non solo l’arte perde la sua forza critica, ma scompare anche la possibilità del possibileThis paper aims at examining Danto’s thesis of “the end of art history”, focusing in particular on: (1) the intertwine between “immanent” art history and “narrative” history of art; (2) the dif-ference between “history” and “historicity”; (3) the possibility of an art history in the post-historical era. The main concern is that, in Danto’s artworld, not only art loses its critical power, but also disappears the possibility of possibl
Le opere d’arte come "oggetti semi-opachi" nella riflessione di Arthur C. Danto
No full textSecondo Arthur Danto nell’arte contemporanea assistiamo al passaggio dalla “mimesi” della realtà all’esposizione (interpretata) della realtà stessa. Questo comporta un passaggio dalla “teoria della trasparenza” alla “teoria della realtà” (o della “opacità”) dell’opera d’arteAccording to Arthur Danto in contemporary art we see a transition from the “mimesis” of reality to the (interpreted) exposure of reality itself. This implies a shift from a “theory of transparency” to a “theory of reality” (or “opacity”) of the artwor
Il corpo dell’immagine. Percezione e rappresentazione in Wittgenstein e Wollheim
No full textIl volume vuole ripensare il “corpo sensibile” dell’immagine e il rapporto tra percezione e rappresentazione, attraverso il confronto tra il “vedere-come” di Wittgenstein e il “vedere-in” di WollheimThis book wants to rethink the “perceptible body” of the image and the relationship between perception and representation, through the comparison between Wittgenstein’s “seeing-as” and Wollheim’s “seeing-in
La filosofia dell’arte di Arthur C. Danto. Alcune recenti traduzioni
No full textAttraverso l’analisi di alcune recenti traduzioni italiane delle opere di Arthur Danto, il saggio affronta alcuni aspetti della sua filosofia dell’arte. In particolare: la differenza ontologica tra opera e oggetto; il rapporto tra essenzialismo e storicismo; la tesi della fine della storia dell’arte e il problema dell’arte post-storicaThrough the analysis of some recent Italian translations of the works of Arthur Danto, this essay addresses some aspects of his philosophy of art. In particular: the ontological difference between work and object; the relationship between essentialism and historicism; his thesis of the end of art history and the problem of post-historical ar
Oltre l'immagine. Rappresentazione e filosofia in Wittgenstein e Rorty
No full textSe la filosofia neopragmatista di Rorty vuole superare la concezione rappresentazionalistica del linguaggio, per assumere una prospettiva naturalistica antifondazionalista, la filosofia critico-trascendentale di Wittgenstein vuole invece ripensare l’idea di ‘rappresentazione’ e il fondamento etico ed estetico del linguaggio e dell’esperienza.If the neopragmatism philosophy of Rorty wants to overcome the representational conception of language, to assume an anti-foundationalism perspective, Wittgenstein’s critical-transcendental philosophy wants to rethink the idea of “representation” and the ethical and aesthetic foundation of language and experienc
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