1,402 research outputs found
Fra due. Etica ed estetica dell’improvvisazione congiunta
No full textLa letteratura sull’improvvisazione si divide in due filoni, quello volto a definire l’improvvisazione e quello che si concentra sulle abilità necessarie per improvvisare meglio. Un terzo, cruciale aspetto di natura morale resta invece del tutto trascurato: il nostro coinvolgimento nei confronti del prossimo e l’atteggiamento con cui affrontiamo le attività cooperative. Questo libro è il primo lavoro che si concentra sull’improvvisazione da un punto di vista etico. Prendendo le mosse dal tango argentino e avvalendosi delle riflessioni filosofiche di Ludwig Wittgenstein, Davide Sparti considera infatti gli attori impegnati in forme di creatività congiunte – quali i ballerini di tango o i musicisti di jazz – come agenti morali. Cosa succede quando due persone improvvisano insieme? Cosa accade, durante l’improvvisazione, a chi improvvisa? L’aspetto etico rappresenta il piano soggiacente che la pratica dell’improvvisazione presuppone senza necessariamente rilevare, il suo punto cieco. Esaminando gli atteggiamenti assunti da chi è coinvolto in pratiche creative umane, Sparti riporta quindi la morale al suo punto di partenza: due individui esposti l’uno all’altro, indotti a confrontarsi con la necessità di riconoscere/eludere ciò che l’incontro esprime circa l’altro
Images of a sound. Portraits and pictures of jazz
No full textImages of a sound. Portraits and Pictures of Jazz. Davide Sparti [trans. lise hogan] It has always been maintained that jazz reflects the social and urban changes of its times, but little attention has been given to the reversed statement, or rather, that twentieth-century culture reflects jazz, reacting and responding to its presence, and re-elaborating its sounds in visual (as well as textual and choreographic) forms. This paper, inspired by an exhibition of jazz album covers, examines the interplay between jazz and the visual arts. Notwithstanding the significant link between image and sound at the referential level of the content (album covers represent a mirror of the era and of its political changes), it is primarily the relationship established through the notion of process, action or operation that is crucial. We live in a videocentric age that greatly emphasizes the defined and completed object, and that has sanctioned the existence of a place for its worship: the museum. But an (improvised) performance is above all an action, the action of generating music during the course of a performance. By focusing on the final product of a performance, we risk losing sight of the “phenomenon”: the emergence, sound after sound, of a musical sense. For many painters, precisely because they can take their time deciding what to “express”, the process recedes to the background and what becomes relevant (also for the evaluation of the artwork) is what they produce. Yet, dating from the Surrealists and from Pollock, many visual arts exhibitors have been inspired by jazz and have placed the notion of process at the centre of their artistic practice. Les images d'un son. Portraits et tableaux du Jazz Davide Sparti [traduction de lise hogan] On a toujours affirmé que le jazz reflète le changement social et urbain de l'époque, mais peu d'attention a été payé à la déclaration inverse, c'est-à-dire, que la culture du XXe siècle reflète le jazz, elle réagit et répond à sa présence, elle réélabore ses sons en formes visuelles (et aussi chorégraphiques et textuelles). Cet écrit présente une étude de l'interaction entre le jazz et les arts visuels, inspiré d'une exposition de pochettes de disques jazz. Au-delà d'un lien déjà assez important entre les images et les sons sur le plan référentiel du contenu (les pochettes de disques représentent un miroir de l'époque et de ses changements politiques), c'est essentiellement le rapport réglé sur le concept de processus, d'action ou d'opération qui est d'importance cruciale. Nous vivons dans un âge vidéocentrique qui accorde une grande importance à l'objet réalisé et défini, et qui a établi l'existence d'un lieu pour son culte: le musée. Cependant, une performance (impromptue) est avant tout une action, l'action de créer de la musique au cours d'une performance. En mettant l'accent sur le produit effectué à la fin de l'exercice, nous risquons de perdre de vue “le phénomène”: l'émergence, son après son, d'un sens musical. Dans le cas de beaucoup de peintres, et précisément parce qu'ils ont tout le temps qu'il faut pour décider quoi “exprimer”, le processus recule à l'arrièrre-plan et ce qui est pertinent (aussi pour l'évaluation), c'est ce qu'ils produisent. Pourtant, à partir des Surréalistes et de Pollock, de nombreux exposants des arts visuels ont étés inspirés par le jazz et ceux-ci ont placé le concept de processus au centre de leur pratique artistique
Davide Sparti, Sul tango: L’improvvisazione intima, Bologna, Il Mulino, 2015, pp. 221
No full textBook review of Davide Sparti, Sul tango: L’improvvisazione intima, Bologna, Il Mulino, 2015, pp. 221.Recensione di Davide Sparti, Sul tango: L’improvvisazione intima, Bologna, Il Mulino, 2015, pp. 221
Improvideo. Etica ed estetica dell’improvvisazione coreutica
No full textWhile all human agency unfolds with a certain degree of improvisation, there are specific cultural practices in which improvisation plays an even more relevant role. Argentine tango is one of them. If tango is the chosen field of reference, I do not attempt to sing the praises of the form, but rather to establish a set of categories which enable to analytically frame improvisation (understood as the capacity to produce, under the special conditions of performance, something new). My contribution, as Wittgentstein would say, has a “grammatical” design to it, proposing signposts and concepts to clarify the significance of the term “improvisation”
L'intervention de Davide Sparti en podcast
No full textLors de la troisième séance du séminaire “Que font les normes ?” qui s’est tenue le 19 mars 2012, Davide Sparti est revenu sur la genèse de La structure des révolutions scientifiques de Thomas Kuhn et sur sa réception. Son intervention est désormais disponible et téléchargeable : Plan de l'intervention / Indice della conferenza : La Standard View ed i suoi assunti sul sapere scientifico : Realismo Demarcazione Cumulatività Osservazione/Teoria Mutamento dell'immagine della razionalità scien..
La reconnaissance distribuée. Estime, respect et autres biens d’identité
No full textS’il est désormais généralement reconnu que nous agissons pour obtenir (cumuler) de l’estime, il reste encore à comprendre la nature de l’estime elle-même, et, surtout, celle de l’opération par laquelle nous attribuons ou refusons de l’estime aux autres. Cet article se propose d’aborder ces deux questions en élaborant une série de distinctions conceptuelles. En premier lieu, celle qui existe entre le respect et l’estime, entre une forme de reconnaissance inconditionnée, que nous devons aux autres en tant qu’exemplaires de l’espèce humaine, et une forme de reconnaissance variable parce que dépendante de l’évaluation de compétences individuelles. À la différence du respect, la reconnaissance estimative ne tend pas intrinsèquement à l’équité, mais elle opère selon l’exigence de classer un ensemble de prestations. La deuxième distinction est celle entre la reconnaissance et l’estime. Je peux bien, en effet, reconnaître quelqu’un sans l’estimer. La troisième distinction, enfin, porte sur la différence entre ce qui est estimé et les critères selon lesquels nous estimons, à savoir les normes en vertu desquelles les membres d’une collectivité reconnaissent que quelqu’un ou quelque chose, ayant de la valeur, est digne d’être estimé.It is commonly acknowledged that we act to obtain (to cumulate) esteem, but the nature of esteem has still to be explored: we have to question the processes through which esteem is awarded or denied. This article proposes to tackle these questions by working out a series of conceptual distinctions. It first focuses on the distinction between respect and esteem, between a form of unconditional recognition we owe to others as specimens of the mankind, and a form of variable recognition dependent on the evaluation of individual competences. Unlike respect, estimative recognition does not tend intrinsically to equity, but it operates according to the necessity of classifying a set of services. Then the text discusses the distinction between recognition and esteem. I can, indeed, recognize somebody without estimating him. The third distinction, finally, relates to the difference between what is estimated and the criteria according to which we estimate, namely the standards in virtue of which the members of a community recognize that somebody or something, having value, is worthy to be estimated
O que está acontecendo aqui? Da explicação das ações à atividade de explicar
No full textO artigo é um trabalho de natureza metateórica que investiga uma gama de problemas ligados ao que fazemos quando explicamos as ações. A explicação é apresentada no quadro pragmático do explicar como prática teórico-comunicativa. O objetivo é analisar como certos atores sociais operam quando a praticam e esclarecer que tipo de atividade é a atividade por meio da qual explicamos as ações dos outros. A identificação e a descrição das ações são inseridas na atividade mais ampla de atribuir motivos e intenções, cuja finalidade é tornar as ações inteligíveis. A consequência dessa perspectiva é deslocar a questão da explicação do plano essencialmente epistemológico para o plano sociológico, ligado aos contextos e às circunstâncias em que se usa a explicação como recurso para agir e interagir
Making up the rules as we go along. Sul nesso tradizione/innovazione in Wittgenstein e nel jazz
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