1,721,028 research outputs found
Il perturbante dello specchio e l'autoritratto
Get PDFIl testo di Stefano Ferrari dal titolo "Il perturbante dello specchio e l'autoritratto" fa parte di "Nel cuore della meraviglia" [Atti del convegno, marzo 2000] a cura di Isabelle Mallez e Raffaele Milani, "Quaderni di PsicoArt", n. 1, 2010
L'art du paysage
No full textDans la perspective de cette étude, le problème du paysage provient non pas de la transfiguration artistique, le paysage dans la peinture, mais il se situe sur le plan du travail de l’homme et ainsi de la vision, de l’imagination et de la contemplation. On veut comprendre la signification du paysage comme une catégorie esthétique dans le domaine de la sensibilité humaine, sous le signe de la réalité, de la valeur, du symbole, éclairée par la manifestation multiple des choses qui nous entourent et de sa transfiguration ensuite dans l’art et dans la littérature. Grâce à un réseau d’impressions, de sentiments et de jugements, l’expérience des formes s’offre en un certain dessein de connaissance. La catégorie esthétique vise à révéler la structure même des objets et des phénomènes, en se situant entre l’intention humaine et la nature intime du monde. Dans cet intervalle, la vérité de la beauté du paysage naturel et du paysage construit est appréhendée précisément dans l’optique d’un art qui est le résultat du faire, du sentiment et de l’imaginaire. Nous sommes depuis toujours fascinés par la nature environnante. Il nous est facile de comprendre, d’entendre la signification et la valeur du paysage en tant que catégorie esthétique le long du processus de la civilisation
For a Philosophy of Representation
No full textWe often wonder if aesthetics cannot be considered to be a philosophy of representation since it concerns itself with reality splitting in the images of the imagination, and with the distinction between the contemplative gaze and the nature of aesthesis (perception with all the senses). For this reason, an attempt is made here to shed light upon the “neutral horizon” of beauty without excluding the living part of things and feelings. Our point of departure is the experience of art taking note of the creativity of the aesthetic response once we interpret the “death of art” in the modern world not as an actual end but as an opening up of a plethora of evocative, perceptual, and formative features. In light of the artworks of the last decades, non-narrative films, Environmental Art and Land Art, repetitive music, and deconstructionist architecture, we might well wonder what remains of art, beyond beauty, and what remains of beauty, beyond art. Only an image, perhaps? In addition, with respect to these epochal transformations, the concept of body has been transformed. It is no longer a container; it has become liquefied and has become an attitude. What emerges is either anguish or enthusiasm in the face of these changes, depending on one’s point of view
The Art of the City
No full textThe book reflects on the ways in which inhabitants of the cityscape have interacted on a spiritual, psychological and philosophical level with the architecture that sorrounds them
Comparative Aesthetics and the Field of Synaesthesia
No full textIn our century synaesthesia and similarities among the arts have gained an increasing influence from a creative, ideational point of view and from a partecipatory, receptive one. It can be said that the similarities among the arts are in a way parallel to sensory correspondances. The theme of isomorphism enters into this picture echoed by a free interplay among the senses
Reflections on the subject of Antiquity and the future
No full textIn the history of art we find many recurrences of Antiquity, since it is a
source of instruction and a model for subsequent aesthetic developments.
In his studies of Neoclassical and Romantic aesthetics and poetics, Rosario
Assunto illustrated that Antiquity itself can be experienced as the future.1
It can be said that memory underpins all innovation and gives authenticity
to new and, at times, shocking forms. Antiquity is present in artworks in the
play of fantastic forms we find in masterpieces. This presence entails the
reinterpretation of images from the Classicism of the Romans to that of
the age of Charlemagne, from Humanism to the Enlightenment, from the
Renaissance of the modern era to the Renaissance of postmodern era
Etica ed estetica dell’abitare. Paesaggio globale e territori urbani
No full textThe city, which is the outcome of history, culture and civilization, at first sight reveals itself to us like an exaltation of the act of building in a game of forms and volumes, or like a glorification of architecture; subsequently it is perceived also as a sign of the community and of the belonging that the forms reflect. What we see, while rethinking its meaning, from ancient times to modernity, is a complex human making, the extraordinary design of collective and individual action, the effect of an art of the extended space. It interacts with what is called the art of landscape, because it proposes elements of care, of imagination and of planning, the signs of creativity and the creations of necessity. Like an activity where the man is the creator of plantations, we can say indeed that there is an art of the city as a product of communities and the individuals, of architects and artists, of planners and simple workers, of citizens and their political representatives: it is the outcome of an ideal and civil effort, but also of a concrete, multifaceted manifestation of the techniques in the space, something which is also shaped, time after time, by that given social group or by ideologies
Conversazione con Alin Roger, maestro di filosofia e letteratura
No full textGli studi sul paesaggio hanno avuto in Francia, negli anni Ottanta e Novanta del Novecento, un periodo aureo. E nell'ambito della filosofia e dell'estetica le opere di Alain Roger risultano tra le più significative nel panorama europeo. L'articolo si propone di fornire un ritratto del pensiero di Alain Roger nel quadro dell'estetica francese contemporanea
Estetica delle Alpi
No full textIl tema s'inquadra in quella che potremmo chiamare "critica estetica della montagna" secondo uno sviluppo dialettico del pensiero romantico e post-romantico. Il Settecento e i primi dell'Ottocento rappresentano l'inizio del gusto estetico per le Alpi, e il periodo che si pone tra Ottocento e Novecento recepisce e favorisce ampiamente i motivi sopra accennati promuovendo l'elevazione artistica dello spazio alpino
Mitopoiesi delle forme e delle figure. Per una filosofia del gesto e della parola.
No full textUna riflessione sulla possibile relazione strutturale tra architettura e letteratura sorge spontanea già a una prima impressione offerta dalle forme materiali come dalle immagini, siano esse di oggetti reali o fantastici; l’importante è che siano viventi alla mente e alla sensibilità nel loro essere figure dello spazio e del tempo. Il nostro sguardo naturale segue un percorso articolato di dati e segni capace di allestire una costruzione diegetica, favorendo cioè un racconto nel quale i linguaggi dell’arte dei volumi come dell’arte della parola s’incontrano: esso (sguardo) temporalizza lo spazio e spazializzza il tempo. Lo fa ‘naturalmente’ con ciò che chiamiamo mitopoiesi, creazione narrativa che opera secondo le abilità dei singoli e le pratiche condotte sul piano dei qualia caratterizza ti gli ordini del produrre e dell’evocare, della materia e della parola. Ogni arte organizza, in una sorta di gamma, le entità fenomeniche di cui si serve specificamente. La priorità del gioco dei qualia è ciò che, in termini aristotelici, si potrebbe chiamare il sensibile proprio di ogni arte
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