Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent... more Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent past, artistic or video experimentation are not predominant aspects of aesthetic experience. Our enquiry is stimulated today by the investigation on the nature and functioning of media and interfaces and aims to clarify how our habits and experiences are changing. The essays gathered here put these questions into context and try to define the state of the art. In order to do so, they point out to a pivotal issue: that by speaking of “aesthetics” we refer more and more frequently to a theory of perception and sensitivity – and only occasionally to a theory of art. When we deal with creativity within this context, we refer to phenomena that can be only loosely referred to the domain of the arts, while they are relevant for the field of technique. We need to ask: Is aesthetics today a “technoaesthetics”, which concerns our forms of life rather than our taste for beauty
La rivoluzione digitale ha prodotto un’evoluzione e una proliferazione degli schermi che paiono i... more La rivoluzione digitale ha prodotto un’evoluzione e una proliferazione degli schermi che paiono inarrestabili. L’esperienza che ne facciamo è diventata definitivamente plurale e si è arricchita di altre novità quali mobilità, tattilità, interattività, connettività, peculiare “carattere immersivo”. Perciò gli schermi s’impongono ormai come il decisivo elemento propulsore non solo delle incessanti trasformazioni all’opera nel nostro rapporto con le immagini, ma, più in generale, di quella rivoluzione percettiva che continuamente c’incalza. Insomma, essi sono diventati, in modo più o meno consapevole, il dispositivo ottico di riferimento nonché l’interfaccia abituale dei nostri rapporti col mondo, con gli altri, con noi stessi. Interrogare le attuali esperienze degli schermi è dunque un crocevia inaggirabile per la filosofia da fare oggi
The article offers a first survey on the studies concerning imagination in an aesthetic and cogni... more The article offers a first survey on the studies concerning imagination in an aesthetic and cognitive perspective in Italy in the last two decades. From the aesthetic point of view, the research is focused in particular on reconsidering the imaginative function of organizing the sensible matter of perception, thus making it available to the subject’s experience – it is the process Kant called “schematism”. The recent aesthetic studies in Italy make new forms of schematism emerge, from the “free schematism” (Garroni), inspired by Kant’s aesthetic judgment, to the “interactive schematism” (Montani), which accounts for the interactions both the environ and the new technologies, up to the overlapping between schematism and “attention styles” of the mind (Desideri). Though influenced by the Kantian heritage, the Italian philosophy was able to confront with various traditions, from the English-speaking philosophy, especially that inspired by Wittgenstein (Borutti), to the German and Frenc...
John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconside... more John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconsidering it dynamically. Nowadays, this view opened the path to somaesthetics, a term coined by Richard Shusterman, and aesthetic anthropology. Here, it is argued that the contribution of pragmatist aesthetics could be further developed by exploring its analogies with techno-aesthetics, a paradigm proposed by French philosopher Gilbert Simondon in the early 1980s. Art occupies accordingly a special place within the different forms of aesthetic experience, being considered as a way of experimenting the impact of new technologies in the human experience. It is a process by which technologies create 'devices' for experimenting perception and reflection: namely, ways of reconstructing the nature of the human mind in-between body and technology, and by means of their interaction. Cinema reconsidered after Dewey's fellow George H. Mead, offers an exemplary case as both artistic and tec...
A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'e... more A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'evoluzione dell'estetica fotografica
The paper reconsiders the possibility of understanding the art of avant-garde in the light of the... more The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.The paper reconsiders t...
Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una form... more Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una forma esemplare di intermedialità. Per intermedialità non si intende solo l'accostamento di diversi formati mediali nel medesimo processo comunicativo (multimedia) o nella medesima opera d'arte (transmedialità); si intende invece la capacità di far dialogare diversi formati mediali allo scopo di arricchire l'esperienza del fruitore di nuove modalità di ricezione (sensibilità) e di nuovi strumenti di interpretazione (comprensione).
The conversation between Giorgio Barberio Corsetti and Pietro Montani, led by Dario Cecchi, focus... more The conversation between Giorgio Barberio Corsetti and Pietro Montani, led by Dario Cecchi, focuses on some of the principal aspects of the career and work of Paolo Rosa and Studio Azzurro, by making reference also to the occasion when the director and the philosopher met the artist and his team. Of such an artistic path, they have been particularly emphasized the interest for the dialogue among different artistic languages (theatre, video art); the attention to the way images are able to refresh the meaning of action and word within theatre and performing arts generally speaking; the relationship between art and technics in the perspective of a “poetic” (or better “poietic”) use of technologies and media; the importance given to the public (ethical and political) dimension of images and art installations, able to working through the sense of belonging to a community.
Through a direct reference to Louis Marin’s theory of the visual representation, in the article s... more Through a direct reference to Louis Marin’s theory of the visual representation, in the article some filmic and non-filmic images (Biblical episodes, paintings, tapestry, movies and digital images) are analysed as they all display the character of a screen. The convergence between visual representations and screens is then generalized in order to show that, at least during Western Modernity, image vision often functioned as an absorption into a screen space, where the spectator was not only able to reorganize his optical experience, but was also empowered, through the relationship established with the figures in the representation, to act and display his/her agency, desires and claims. Considered as screens, images show thus the coincidence between an aesthetic and a political experience, where the spectator is not a passive consumer, but an actor on the stage.
In the present paper I propose to consider art as a specific form of documentality, much differen... more In the present paper I propose to consider art as a specific form of documentality, much different from ordinary documentality, usually made of objects like cards, tickets, maps and so on. Before considering documentality, we need to reconsider our theory of human communication. Following Searle's theory of social reality, art communication can be based on social ontology, which depends, in turn, on collective or intersubjective intentionality. I will not argue that art founds that intersubjective intentionality. I will attempt to show that some artworks, for instance pottery or architecture when they become archaeological documents, are able to show some characteristic features of documentality as an <em>activity</em>.
Lebenswelt: Aesthetics and Philosophy of Experience, 2018
The paper is concerned with arguing the existence of a relationship between the enactive theory o... more The paper is concerned with arguing the existence of a relationship between the enactive theory of perception and aesthetics. One of the leading figures in the theory of enactment, Alva Noe, pointed out that the works of art constitute one of the keys to understand how perception and cognition realize their enactment onto reality. Art objects are, in fact, a very peculiar case of artefacts since they are considered as being able to quicken the living beings’ organization in their interaction to the world. Do they create a different atmosphere? Do they “furnish” the surrounding habitat with new meanings? The paper argues that these are, of course, fundamental elements in the art’s action onto reality. As far as the subjective enactment of perception is concerned, together with power in designing life organization, art has arguably another original functions, that of building new “environs” where experience can meet reality under a different light and thus prepare the field for other ...
Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent... more Intermediality and interactivity are an issue for aesthetic theory. However, unlike in the recent past, artistic or video experimentation are not predominant aspects of aesthetic experience. Our enquiry is stimulated today by the investigation on the nature and functioning of media and interfaces and aims to clarify how our habits and experiences are changing. The essays gathered here put these questions into context and try to define the state of the art. In order to do so, they point out to a pivotal issue: that by speaking of “aesthetics” we refer more and more frequently to a theory of perception and sensitivity – and only occasionally to a theory of art. When we deal with creativity within this context, we refer to phenomena that can be only loosely referred to the domain of the arts, while they are relevant for the field of technique. We need to ask: Is aesthetics today a “technoaesthetics”, which concerns our forms of life rather than our taste for beauty
La rivoluzione digitale ha prodotto un’evoluzione e una proliferazione degli schermi che paiono i... more La rivoluzione digitale ha prodotto un’evoluzione e una proliferazione degli schermi che paiono inarrestabili. L’esperienza che ne facciamo è diventata definitivamente plurale e si è arricchita di altre novità quali mobilità, tattilità, interattività, connettività, peculiare “carattere immersivo”. Perciò gli schermi s’impongono ormai come il decisivo elemento propulsore non solo delle incessanti trasformazioni all’opera nel nostro rapporto con le immagini, ma, più in generale, di quella rivoluzione percettiva che continuamente c’incalza. Insomma, essi sono diventati, in modo più o meno consapevole, il dispositivo ottico di riferimento nonché l’interfaccia abituale dei nostri rapporti col mondo, con gli altri, con noi stessi. Interrogare le attuali esperienze degli schermi è dunque un crocevia inaggirabile per la filosofia da fare oggi
The article offers a first survey on the studies concerning imagination in an aesthetic and cogni... more The article offers a first survey on the studies concerning imagination in an aesthetic and cognitive perspective in Italy in the last two decades. From the aesthetic point of view, the research is focused in particular on reconsidering the imaginative function of organizing the sensible matter of perception, thus making it available to the subject’s experience – it is the process Kant called “schematism”. The recent aesthetic studies in Italy make new forms of schematism emerge, from the “free schematism” (Garroni), inspired by Kant’s aesthetic judgment, to the “interactive schematism” (Montani), which accounts for the interactions both the environ and the new technologies, up to the overlapping between schematism and “attention styles” of the mind (Desideri). Though influenced by the Kantian heritage, the Italian philosophy was able to confront with various traditions, from the English-speaking philosophy, especially that inspired by Wittgenstein (Borutti), to the German and Frenc...
John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconside... more John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconsidering it dynamically. Nowadays, this view opened the path to somaesthetics, a term coined by Richard Shusterman, and aesthetic anthropology. Here, it is argued that the contribution of pragmatist aesthetics could be further developed by exploring its analogies with techno-aesthetics, a paradigm proposed by French philosopher Gilbert Simondon in the early 1980s. Art occupies accordingly a special place within the different forms of aesthetic experience, being considered as a way of experimenting the impact of new technologies in the human experience. It is a process by which technologies create 'devices' for experimenting perception and reflection: namely, ways of reconstructing the nature of the human mind in-between body and technology, and by means of their interaction. Cinema reconsidered after Dewey's fellow George H. Mead, offers an exemplary case as both artistic and tec...
A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'e... more A partire dall'analisi di una fotografia di Paolo Pellegrin il saggio si interroga sull'evoluzione dell'estetica fotografica
The paper reconsiders the possibility of understanding the art of avant-garde in the light of the... more The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.The paper reconsiders t...
Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una form... more Il saggio si occupa della questione dell'adattamento cinematografico, considerandolo una forma esemplare di intermedialità. Per intermedialità non si intende solo l'accostamento di diversi formati mediali nel medesimo processo comunicativo (multimedia) o nella medesima opera d'arte (transmedialità); si intende invece la capacità di far dialogare diversi formati mediali allo scopo di arricchire l'esperienza del fruitore di nuove modalità di ricezione (sensibilità) e di nuovi strumenti di interpretazione (comprensione).
The conversation between Giorgio Barberio Corsetti and Pietro Montani, led by Dario Cecchi, focus... more The conversation between Giorgio Barberio Corsetti and Pietro Montani, led by Dario Cecchi, focuses on some of the principal aspects of the career and work of Paolo Rosa and Studio Azzurro, by making reference also to the occasion when the director and the philosopher met the artist and his team. Of such an artistic path, they have been particularly emphasized the interest for the dialogue among different artistic languages (theatre, video art); the attention to the way images are able to refresh the meaning of action and word within theatre and performing arts generally speaking; the relationship between art and technics in the perspective of a “poetic” (or better “poietic”) use of technologies and media; the importance given to the public (ethical and political) dimension of images and art installations, able to working through the sense of belonging to a community.
Through a direct reference to Louis Marin’s theory of the visual representation, in the article s... more Through a direct reference to Louis Marin’s theory of the visual representation, in the article some filmic and non-filmic images (Biblical episodes, paintings, tapestry, movies and digital images) are analysed as they all display the character of a screen. The convergence between visual representations and screens is then generalized in order to show that, at least during Western Modernity, image vision often functioned as an absorption into a screen space, where the spectator was not only able to reorganize his optical experience, but was also empowered, through the relationship established with the figures in the representation, to act and display his/her agency, desires and claims. Considered as screens, images show thus the coincidence between an aesthetic and a political experience, where the spectator is not a passive consumer, but an actor on the stage.
In the present paper I propose to consider art as a specific form of documentality, much differen... more In the present paper I propose to consider art as a specific form of documentality, much different from ordinary documentality, usually made of objects like cards, tickets, maps and so on. Before considering documentality, we need to reconsider our theory of human communication. Following Searle's theory of social reality, art communication can be based on social ontology, which depends, in turn, on collective or intersubjective intentionality. I will not argue that art founds that intersubjective intentionality. I will attempt to show that some artworks, for instance pottery or architecture when they become archaeological documents, are able to show some characteristic features of documentality as an <em>activity</em>.
Lebenswelt: Aesthetics and Philosophy of Experience, 2018
The paper is concerned with arguing the existence of a relationship between the enactive theory o... more The paper is concerned with arguing the existence of a relationship between the enactive theory of perception and aesthetics. One of the leading figures in the theory of enactment, Alva Noe, pointed out that the works of art constitute one of the keys to understand how perception and cognition realize their enactment onto reality. Art objects are, in fact, a very peculiar case of artefacts since they are considered as being able to quicken the living beings’ organization in their interaction to the world. Do they create a different atmosphere? Do they “furnish” the surrounding habitat with new meanings? The paper argues that these are, of course, fundamental elements in the art’s action onto reality. As far as the subjective enactment of perception is concerned, together with power in designing life organization, art has arguably another original functions, that of building new “environs” where experience can meet reality under a different light and thus prepare the field for other ...
SENZA PASOLINI
Quarant’anni dopo la morte di Pier Paolo Pasolini è forse giunto il momento di li... more SENZA PASOLINI
Quarant’anni dopo la morte di Pier Paolo Pasolini è forse giunto il momento di liberarsi dalla sua morte. La sua fine violenta, tragica, oscura, priva di un vero colpevole – eppure sappiamo tutto, senza avere le prove – deve lasciarci andare. Dopo quarant’anni senza Pasolini, rievocare la sua esperienza estetica, politica, intellettuale, significa iniziare a fare a meno del suo mito, a rinunciare alle luci della sua leggenda; vuol dire prendere congedo dal trauma della sua scomparsa. Senza Pasolini, allora, perché, dopo la sua morte, è diventato più difficile pensare; è venuto meno chi, come nessun’altro, o, almeno, nessuno come lui, ci costringeva a pensare. Senza Pasolini perché oggi dobbiamo fare a meno di Pasolini per ritornare, presumibilmente addirittura per cominciare, a esplorare la sua abissale, straordinaria, problematica grandezza.
Chi è Pier Paolo Pasolini? Un poeta, uno scrittore, un regista, un intellettuale, un apocalittico, un tipo pericoloso, un antropologo, un calciatore… se Pasolini è tutte queste cose insieme, le ha, però, portate all’estremo, al congedo, persino all’estinzione. Le ha consumate e forse, in questa maniera, radicalmente trasformate. Per questa ragione, con Pasolini, non bisogna abbassare la guardia e restare vigili, guardando, ad esempio, la sua opera da regista con occhi poetici, mentre polemizza, invece, è necessario cercare più a fondo e maneggiare le sue parole con il talento della filosofia. La cosa migliore con Pasolini probabilmente è lasciare deragliare le forme, i canoni, i giudizi, e affidarsi alle angolature inattese, alle fenditure logiche, alle infrazioni disciplinari.
L’eredità di Pasolini non ha eredi. Questa è la sua eredità più sconvolgente. Per questo motivo, oggi, quarant’anni dopo la sua scomparsa, abbiamo l’impressione d’iniziare a guardare di nuovo i suoi film, a leggere le sue poesie, a capire i suoi articoli. Questa volta come se fosse la prima; una volta Senza Pasolini, finalmente, privi della sua infinita fine. Allora, soltanto adesso, potrebbe essere vero che Pasolini è il nome di una forza del passato che dimora in un universo d’immagini. Le nostre.
Ar įmanoma pasaulį išlaisvinti iš žmogaus diktato? Kokiais būdais galime tikrovę apmąstyti, išmok... more Ar įmanoma pasaulį išlaisvinti iš žmogaus diktato? Kokiais būdais galime tikrovę apmąstyti, išmokus tiek metafizikos, tiek XX a. postmodernizmo pamokas? Galiausiai, ar užčiuopti tam, kas iš tiesų egzistuoja, mums visada pakanka tik mastymo, o galbut kartais turime pasitelkti ir radikalią vaizduotę?
Knygą galima suprasti kaip sceną, kurioje susitinka skirtingoms stovykloms atstovaujantys filosofai. Greta reikšmingų šiuolaikinių realistų, suformavusių ir įkvėpusių savasias mokyklas – į objektus orientuotai ontologijai atstovaujančio Grahamo Harmano ar Il Nuovo realismo pradininko Maurizio Ferrario – knygoje sutinkame materialistę Catherine Malabou, čiabuvių mąstymą nagrinėjančius Déborah Danowski ir Eduardo Viveiros de Castro, italų filosofus Pietro Montani, Tiziana Andina, Dario Cecchi bei visą būrį lietuvių autorių – Ruslaną Baranovą, Joną Dagį, Dainą Habdankaitę, Igną Šatkauską ir Ritą Šerpytytę. Nors pozicijos neretai skiriasi, jas vienija bendra nuostata – šiandien tikrovės klausimas ir vėl tapo išskirtinai svarbus.
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Papers by Dario Cecchi
Quarant’anni dopo la morte di Pier Paolo Pasolini è forse giunto il momento di liberarsi dalla sua morte. La sua fine violenta, tragica, oscura, priva di un vero colpevole – eppure sappiamo tutto, senza avere le prove – deve lasciarci andare. Dopo quarant’anni senza Pasolini, rievocare la sua esperienza estetica, politica, intellettuale, significa iniziare a fare a meno del suo mito, a rinunciare alle luci della sua leggenda; vuol dire prendere congedo dal trauma della sua scomparsa. Senza Pasolini, allora, perché, dopo la sua morte, è diventato più difficile pensare; è venuto meno chi, come nessun’altro, o, almeno, nessuno come lui, ci costringeva a pensare. Senza Pasolini perché oggi dobbiamo fare a meno di Pasolini per ritornare, presumibilmente addirittura per cominciare, a esplorare la sua abissale, straordinaria, problematica grandezza.
Chi è Pier Paolo Pasolini? Un poeta, uno scrittore, un regista, un intellettuale, un apocalittico, un tipo pericoloso, un antropologo, un calciatore… se Pasolini è tutte queste cose insieme, le ha, però, portate all’estremo, al congedo, persino all’estinzione. Le ha consumate e forse, in questa maniera, radicalmente trasformate. Per questa ragione, con Pasolini, non bisogna abbassare la guardia e restare vigili, guardando, ad esempio, la sua opera da regista con occhi poetici, mentre polemizza, invece, è necessario cercare più a fondo e maneggiare le sue parole con il talento della filosofia. La cosa migliore con Pasolini probabilmente è lasciare deragliare le forme, i canoni, i giudizi, e affidarsi alle angolature inattese, alle fenditure logiche, alle infrazioni disciplinari.
L’eredità di Pasolini non ha eredi. Questa è la sua eredità più sconvolgente. Per questo motivo, oggi, quarant’anni dopo la sua scomparsa, abbiamo l’impressione d’iniziare a guardare di nuovo i suoi film, a leggere le sue poesie, a capire i suoi articoli. Questa volta come se fosse la prima; una volta Senza Pasolini, finalmente, privi della sua infinita fine. Allora, soltanto adesso, potrebbe essere vero che Pasolini è il nome di una forza del passato che dimora in un universo d’immagini. Le nostre.
Knygą galima suprasti kaip sceną, kurioje susitinka skirtingoms stovykloms atstovaujantys filosofai. Greta reikšmingų šiuolaikinių realistų, suformavusių ir įkvėpusių savasias mokyklas – į objektus orientuotai ontologijai atstovaujančio Grahamo Harmano ar Il Nuovo realismo pradininko Maurizio Ferrario – knygoje sutinkame materialistę Catherine Malabou, čiabuvių mąstymą nagrinėjančius Déborah Danowski ir Eduardo Viveiros de Castro, italų filosofus Pietro Montani, Tiziana Andina, Dario Cecchi bei visą būrį lietuvių autorių – Ruslaną Baranovą, Joną Dagį, Dainą Habdankaitę, Igną Šatkauską ir Ritą Šerpytytę. Nors pozicijos neretai skiriasi, jas vienija bendra nuostata – šiandien tikrovės klausimas ir vėl tapo išskirtinai svarbus.