131,560 research outputs found
La questione dell’arte tra filosofia dei valori e Kulturkritik: su alcuni scritti di Jonas Cohn editi nei primi anni della Grande Guerra (1914-1916),
No full textDomenico Spinosa, The Question of Art between Philosophy of Values and Kulturkritik. On some Writings by Jonas Cohn published in the early Years of the Great War
(1914-1916)
This contribution proposal intends to reconstruct and then examine the reflections that Jonas Cohn elaborates in both the aesthetic spheres in the crucial time
span that goes from 1914 to 1916. As is well known, the Great War represents a
situation exceptional that causes a sort of interruption and traumatic bewilderment destined to profoundly change the neo-Kantian philosophical context and to
initiate from within it processes of revision of predominant themes and directions
already consolidated over time towards a considerable arrangement of new orientations. In this scenario, Cohn takes a position by recovering the theme dear to
him of aesthetics (in fact in 1901 – it is worth remembering – he was the author
of an Allgemeine Ästhetik which remains – it can be peacefully affirmed – the first
systematic work on the theme of the school of Baden) also and above all related to
issues related to the religious. Also for Cohn the foundational plane of reference
on which he argues these positions is that of the “critique of culture” to which the
author will also dedicate an important monograph as early as 1914. This will also
be an opportunity for the author to return to rethinking the notion of value in the
light of the changed historical-epochal situation that sanctions the decline of the
belle époque
Lo sguardo del cinema. Nota sull’ontologia dell’immagine filmica nel pensiero di Jean-Luc Nancy
No full textThe present essay seeks to analyze the reflections on cinematographic art proposed
by Jean-Luc Nancy, referring in particular to his L’Évidence du film. Abbas Kiarostami
(2001) as well as to other studies where the author reconsiders the concepts of image
and gaze. The specifity of films lies in “evidence”, which is a way to affirm the finite
character of existence-presence. Cinema addresses the world without any form of realism.
It is reality itself to open out to the image. What results is a possible gaze which is
no longer on representation and nor can it be a representative gaze. This gaze does not
look at any object; the very act of seeing can be seen through it
Ontologia del cinema
No full textChe cosa è il cinema? Questa domanda esige risposte diverse rispetto a quelle proposte sin qui dalla letteratura filosofica, visto che ci siamo finalmente resi conto che il film ha conosciuto una trasformazione radicale della propria natura, segnata dal passaggio da un medium analogico-fotografico a quello digitale-video (e non solo).
Il compito teorico, dunque, sta nell’esplorare quelle che possono essere le conseguenze filosofiche della scomparsa della base fotografica nel film e lo scenario futuro dei Film Studies. Cosa resta, dunque, del cinema? In verità, non poco. Se la pellicola tende a estinguersi, il cinema perdura, almeno nelle forme narrative immaginate da Hollywood sin dal 1915. Una certa idea di cinema persiste all’interno dei nuovi media. Questo elemento ci indica anche che non riusciamo forse a immaginare cosa saranno i nuovi media quando si saranno sbarazzati della metafora cinematografica e avranno incominciato a sondare il proprio indipendente “virtuale” creativo. Intanto eravamo, siamo e saremo spettatori e questa è indubbiamente una costante da cui non possiamo prescindere.The question of what it means to study cinema has been recently attracting attention again. What is of remarkable relevance is that film (meant as an aesthetic, cultural, and social object) has gone through a transformation of its nature, that is, the passage from an analogical-photographic medium to that of digital-video. Many have pointed out the importance to understand the philosophical consequences of the disappearance of the photographic base in film as well as to discuss the future of Film Studies. It seems evident that the debate on “what film is” has been renovated. A first considerable effect is linked to the decentralization of the cinematographic experience connected to the fruition of cinemas, a phenomenon that has deep repercussions on what we can define as “the phenomenology of the spectator.” It is not a coincidence that we have lost the habit of saying “let’s go to the cinema.” The future of the very theory of cinema, which perhaps continues to apply traditional categories to a by now deeply changed setting, seems quite uncertain. What is left of cinema then? In reality, not little. If film is extinguished, cinema lives on, at least in the narrative forms imagined by Hollywood since 1915. A certain idea of cinema, in fact, persists and is confirmed in new media and in the last experiences and tendencies of contemporary art. This element also suggests that we might not be able to imagine how new languages and the future forms of art will be the day we get rid of the cinematographic metaphor
Sull’intelligibilità del sensibile. Nota al contributo di Adelchi Baratono nell’estetica italiana del primo Novecento
No full textThe contribution examines the notion of occasionalismo sensista, or also known by the expression of formalismo sensista, that the Italian philosopher Adelchi Baratono was proposing in the ’30s and ’40s of the twentieth century. Best known for his dense volume, Il mondo sensibile. Introduzione all’estetica (1934), Baratono is among the first thinkers of his time in Italy to start a confrontation with Kantian criticism in aesthetic context, looking groundwork for an alternative route to the one proposed by the Italian Neo-idealism. In fact, against the absolutization of the subject, which Baratono ascribes, in particular, to the thought of Giovanni Gentile, he affirms the profound otherness of subject and object in front of which philosophy is bound to be wrecked. In this perspective, the “sensible world” for Baratono is in itself, regardless of the knowing subject, because everything is resolved in the “world within and around us”. In this perspective, Baratono affirms that the feeling is all this, that is something without which are neither perception nor the concept and even the idea. The feeling, therefore, far from being considered the first stage of knowledge, is the real existence.</p
Incursioni. La forma filmica tra estetica e biologia
No full textQuesto saggio si propone di mettere in relazione l'esperienza del vivente e l'esperienza estetica. Il soggetto umano e la zecca sono assunti come casi studio per una disamina delle diversità dell'essere animali, di che cos'è un istante, della durata di un momento per un uomo o per un pesce. In questa prospettiva, il cinema si rivela il terreno di un'incursione tra umano e non umano.
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