1,721,041 research outputs found
Kant’s Concept of Power of Judgment and the Logic of Artistic Improvisation (con Alessandro Bertinetto)
No full textKant’s Critique of Judgment represents one of the most important texts in modern philosophy. However, while its importance for 19th-century philosophy has been widely acknowledged, scholars have often overlooked its far-reaching influence on 20th-century thought. This book aims to account for the various interpretations of Kant’s notion of aesthetic judgment formulated in the last century. The book approaches the subject matter from both a historical and a theoretical point of view and in relation to different cultural contexts, also exploring in an unprecedented way its influence on some very up-to-date philosophical developments and trends. It represents the first choral and comprehensive study on this missing piece in the history of modern and contemporary philosophy, capable of cutting in a unique way across different traditions, movements and geographical areas. All main themes of Kant’s aesthetics are investigated in this book, while at the same time showing how they have been interpreted in very different ways in the 20th century. In this chapter the two authors, Alessandro Bertinetto and Stefano Marino, investigate the way in which Kant’s Critique of Judgment and especially his treatment of such concepts as power of judgment, taste and 'sensus communis' can be useful and important to gain new insights into the logic of artistic improvisation
Recensione a Alessandro Bertinetto, Estetica dell’improvvisazione, Bologna, Il Mulino, 2021
Full text linkRecensione a Alessandro Bertinetto: Estetica dell’improvvisazion
Volontà libera e arbitrio nel Sistema di etica di Fichte e nell’Introduzione ai Lineamenti di filosofia del diritto di Hegel
No full textEven if Fichte seems to start from Kant’s doctrine of freedom, the distinction
between a sensible and an intelligible world is not conclusive for his theory of freedom,
which becomes comprehensible only as from the principles of the doctrine of science
and, in particular, from the distinction between being and thought. With his definition
of freedom as substantialitas, Fichte lays stress more on independence and spontaneity
than, as Kant had done instead, on the normative aspect of autonomy.
Hegel builds his doctrine of freedom within the fichtian theoretical horizon: with
respect to two potentially diverging tendencies which are present in the Sittenlehre – that
towards considering the natural impulse and the pure impulse nothing but two different
points of view on something essentially unitary and that towards defining freedom as
independence from nature and as dominion of rationality on nature - Hegel’s doctrine of
freedom starts from the first, preserving however also the demand to guarantee the
supremacy of rationality, which is at the bottom of the second
Ontologie musicali
Full text linkThis special issue of "Aisthesis" explores the ways in which contemporary ontologies have helped to deepen our understanding of music in its various genres and forms of expression: oral, written, and phonographic. Besides investigating the evolution of the ontological status of musical objects in the light of the technological innovations occurred over the last century, the articles collected here investigate the relationship between ontology and aesthetics and address the question of the criteria for the identification and the evaluation of musical works, musical performances, and improvisations
Sobre la estética de la improvisación
No full textReseña de Aesthetics of Improvisation (Brill, 2022) de Alessandro Bertinetto
El arte de los sonidos. Reflexiones sobre significado y expresividad de la música
No full textEl hallazgo arqueológico de huesos perforados de hace cuarenta mil a cuarenta y cinco mil años —objetos interpretables como instrumentos para emitir sonidos— demostraría que el ser humano pudo producir sonidos articulados prácticamente desde el nacimiento de la especie. Sin embargo, mientras que la emisión de sonidos, soplando en un hueso hueco o silbando un estribillo, es una actividad casi espontánea del ser humano, la producción de música, es decir, la transformación de una secuencia de notas en melodías complejas y extensas, con armonías, ritmos y escalas organizadas, ha requerido, entre otras cosas, la evolución articulada de procedimientos técnicos, de prácticas culturales y de gusto artístico. La música tiene pues carácter cultural, no sólo natural: es una actividad técnica intencional
que puede ser ejecutada únicamente por el ser humano
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
CONTINGENCY AND IMPROVISATION IN PERFORMANCE ART FROM THE 1970s TO THE PRESENT
No full textThe first part of the article focuses on how an accident or unexpected event may influence a performance piece. Examples of accidents with creative potential are described. The second part concerns improvisation; it investigates what it means to improvise in performance art and reveals the political potential of improvisation. Even though artists reluctantly admit they improvise or make errors, examples of such cases suggest this is not uncommon and usually involves unexpected audience interaction or occurs when the piece's structure is open. The article is based on artists' statements, performances described in the literature, and those witnessed by the author. The theoretical part is mainly based on articles by Alessandro Bertinetto
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