Alternando registri stilistici diversi, passando dal continentale più letterario all’analitico pi... more Alternando registri stilistici diversi, passando dal continentale più letterario all’analitico più duro, Maurizio Ferraris ha mostrato che il miglior filosofo possibile è quello che li contiene tutti. I suoi allievi, che qui raccolgono parte di quelle tracce, ne sono la prova: pezzi autonomi di una biblioteca vivente che ha lasciato liberi i suoi volumi di aprirsi alle pagine che preferivano
There is a class of actions that, from a metaphysical point of view, has as its necessary conditi... more There is a class of actions that, from a metaphysical point of view, has as its necessary condition some form of cooperation between different generations. This article aims to analyse the metaphysical structure of this class of actions and to show that they are a necessary condition for the existence of social reality.
... Il mondo dell arte come istituzione sociale. Autores: Tiziana Andina; Localización: Rivista d... more ... Il mondo dell arte come istituzione sociale. Autores: Tiziana Andina; Localización: Rivista di estetica, ISSN 0035-6212, Anno 52, n. 49, 2012 , págs. 203-216. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. ...
Is judgement still possible in art? The present paper tries to answer this question, exploring th... more Is judgement still possible in art? The present paper tries to answer this question, exploring the two-main forms of judgement in the domain of art: the ontological-artistic judgment (regarding the identity of works of art) and the aesthetic judgement (regarding their aesthetic properties). Arguing that the most philosophically interesting cases are those in which judgment seems impossible, the article explores the elements necessary for the formulation of the two judgements that make up the domain of art.
Our intuitions related to art are generally associated to ideas such as creativity, freedom of ex... more Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. The fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. The question we have to answer is the following. When we make a judgment of taste looking, say, at the Mona Lisa, what does that mean exactly? What do we mean when we say that “the Mona Lisa is beautiful and an absolute masterpiece of Western art”? This statement contains a judgment of taste (Mona Lisa is beautiful) and an artistic judgment (it is a masterpiece of Western art). In what follows I will show that: i) the two judgments are different, ii) both judgments have normative nature, but the normativity of the judgment of taste refers to different elements from the artistic judgment and, finally, iii) contemporary visual arts require the formulation of an artistic judgment rather than a judgment of taste.
Our intuitions related to art are generally associated to ideas such as creativity, freedom of ex... more Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. However, the fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. It may be that this is just a coincidence, or it may be that art, whatever the definition we decide to take, really shares something profound with the law. The paper explore some of the main intersections between arts and law.
Основные положения эстетики Кроче включают два пункта: 1) интуитивное знание не зависит от логиче... more Основные положения эстетики Кроче включают два пункта: 1) интуитивное знание не зависит от логического; 2) интуитивное знание дано в искусстве, а логическое – в философии. В данной статье я сначала приведу некоторые доводы в пользу значимости некото-рых элементов теории Кроче для современной эстетики, а затем покажу, что, несмотря на справедливость его первого утверждения (1), второе (2) нельзя обосновать в рамках его теории. И, наконец, на основе предыдущих умозаключений, я представлю обосно-вание различия между эстетикой и философией искусства. The fundamental thesis of Benedetto Croce's Aesthetic consists of two main points: (i) intuitive knowledge is independent of logical knowledge, (ii) intuitive knowledge is given in art, while logical knowledge in philosophy. After illustrating some theoretical elements that make Croce's aesthetic a focal point in contemporary aesthetics, in the present article I will show how, given the validity of the first part of Croce's thesis (i), the second part of his thesis (ii) is not defensible in the terms proposed by him. Finally, on the basis on the previous analyses, I shall offer some
Estetica, ermeneutica e ontologia sono le tre parole chiave utili per comprendere il percorso teo... more Estetica, ermeneutica e ontologia sono le tre parole chiave utili per comprendere il percorso teorico di Maurizio Ferraris. Utilizzando una cifra narrativa di carattere autobiografico, l'articolo ripercorre taluni momenti della filosofia ferrarisiana cercando di evidenziare alcune cifre caratteristiche. Ho conosciuto Maurizio Ferraris oramai oltre quindici anni fa. Considerando le turbolenze a cui, in genere, sono soggetti i rapporti accademici, credo sia un rapporto tutto sommato lungo, anche se non sempre è stato semplice. Anzi, a ben pensarci, direi che semplice non lo è stato quasi mai. In tanti anni, le ragioni della navigazione a volte burrascosa sono state diverse: differenze di caratteri e di stili, ma anche divergenze nel merito delle cose di cui ci occupiamo che, per quanto non sia allieva diretta di Maurizio, hanno una radice comune. Anzitutto l'ermeneutica, che è stata la scuola di formazione di entrambi, e poi interessi teorici simili: dal pensiero di Nietzsche, all'estetica che Ferraris ha interpretato come filosofia della sensibilità richiamandosi alle radici baumgarteniane della disciplina, mentre a me interessano soprattutto le questioni metafisiche e on-tologiche poste dalle opere d'arte. Dunque non tanto l'estetica come antefatto della epistemologia, ma piuttosto la filosofia dell'arte che in taluni casi, e per talune questioni, può essere strumento della filosofia generale. Subito dopo essermi laureata discutendo una tesi che aveva a oggetto la ricezione del pensiero di Nietzsche nella filosofia anglo-americana, ricordo che discussi con Gianni Vattimo i modi per trarre un articolo da quell'elaborato: la ricezione nordamericana di Nietzsche era in effetti questione per lo più ignorata nel contesto europeo. Vattimo chiamò Valerio Verra per informarsi se Cultura
Scese da un taxi con la solita fretta controllata. Era abituato ad arrivare di corsa alle confere... more Scese da un taxi con la solita fretta controllata. Era abituato ad arrivare di corsa alle conferenze, si presentava pochi minuti prima di parlare, gettando gli organizzatori nel malcelato affanno di chi teme di trovarsi a gestire quei quaranta minuti che la pazienza ...
Alternando registri stilistici diversi, passando dal continentale più letterario all’analitico pi... more Alternando registri stilistici diversi, passando dal continentale più letterario all’analitico più duro, Maurizio Ferraris ha mostrato che il miglior filosofo possibile è quello che li contiene tutti. I suoi allievi, che qui raccolgono parte di quelle tracce, ne sono la prova: pezzi autonomi di una biblioteca vivente che ha lasciato liberi i suoi volumi di aprirsi alle pagine che preferivano
There is a class of actions that, from a metaphysical point of view, has as its necessary conditi... more There is a class of actions that, from a metaphysical point of view, has as its necessary condition some form of cooperation between different generations. This article aims to analyse the metaphysical structure of this class of actions and to show that they are a necessary condition for the existence of social reality.
... Il mondo dell arte come istituzione sociale. Autores: Tiziana Andina; Localización: Rivista d... more ... Il mondo dell arte come istituzione sociale. Autores: Tiziana Andina; Localización: Rivista di estetica, ISSN 0035-6212, Anno 52, n. 49, 2012 , págs. 203-216. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. ...
Is judgement still possible in art? The present paper tries to answer this question, exploring th... more Is judgement still possible in art? The present paper tries to answer this question, exploring the two-main forms of judgement in the domain of art: the ontological-artistic judgment (regarding the identity of works of art) and the aesthetic judgement (regarding their aesthetic properties). Arguing that the most philosophically interesting cases are those in which judgment seems impossible, the article explores the elements necessary for the formulation of the two judgements that make up the domain of art.
Our intuitions related to art are generally associated to ideas such as creativity, freedom of ex... more Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. The fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. The question we have to answer is the following. When we make a judgment of taste looking, say, at the Mona Lisa, what does that mean exactly? What do we mean when we say that “the Mona Lisa is beautiful and an absolute masterpiece of Western art”? This statement contains a judgment of taste (Mona Lisa is beautiful) and an artistic judgment (it is a masterpiece of Western art). In what follows I will show that: i) the two judgments are different, ii) both judgments have normative nature, but the normativity of the judgment of taste refers to different elements from the artistic judgment and, finally, iii) contemporary visual arts require the formulation of an artistic judgment rather than a judgment of taste.
Our intuitions related to art are generally associated to ideas such as creativity, freedom of ex... more Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. However, the fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. It may be that this is just a coincidence, or it may be that art, whatever the definition we decide to take, really shares something profound with the law. The paper explore some of the main intersections between arts and law.
Основные положения эстетики Кроче включают два пункта: 1) интуитивное знание не зависит от логиче... more Основные положения эстетики Кроче включают два пункта: 1) интуитивное знание не зависит от логического; 2) интуитивное знание дано в искусстве, а логическое – в философии. В данной статье я сначала приведу некоторые доводы в пользу значимости некото-рых элементов теории Кроче для современной эстетики, а затем покажу, что, несмотря на справедливость его первого утверждения (1), второе (2) нельзя обосновать в рамках его теории. И, наконец, на основе предыдущих умозаключений, я представлю обосно-вание различия между эстетикой и философией искусства. The fundamental thesis of Benedetto Croce's Aesthetic consists of two main points: (i) intuitive knowledge is independent of logical knowledge, (ii) intuitive knowledge is given in art, while logical knowledge in philosophy. After illustrating some theoretical elements that make Croce's aesthetic a focal point in contemporary aesthetics, in the present article I will show how, given the validity of the first part of Croce's thesis (i), the second part of his thesis (ii) is not defensible in the terms proposed by him. Finally, on the basis on the previous analyses, I shall offer some
Estetica, ermeneutica e ontologia sono le tre parole chiave utili per comprendere il percorso teo... more Estetica, ermeneutica e ontologia sono le tre parole chiave utili per comprendere il percorso teorico di Maurizio Ferraris. Utilizzando una cifra narrativa di carattere autobiografico, l'articolo ripercorre taluni momenti della filosofia ferrarisiana cercando di evidenziare alcune cifre caratteristiche. Ho conosciuto Maurizio Ferraris oramai oltre quindici anni fa. Considerando le turbolenze a cui, in genere, sono soggetti i rapporti accademici, credo sia un rapporto tutto sommato lungo, anche se non sempre è stato semplice. Anzi, a ben pensarci, direi che semplice non lo è stato quasi mai. In tanti anni, le ragioni della navigazione a volte burrascosa sono state diverse: differenze di caratteri e di stili, ma anche divergenze nel merito delle cose di cui ci occupiamo che, per quanto non sia allieva diretta di Maurizio, hanno una radice comune. Anzitutto l'ermeneutica, che è stata la scuola di formazione di entrambi, e poi interessi teorici simili: dal pensiero di Nietzsche, all'estetica che Ferraris ha interpretato come filosofia della sensibilità richiamandosi alle radici baumgarteniane della disciplina, mentre a me interessano soprattutto le questioni metafisiche e on-tologiche poste dalle opere d'arte. Dunque non tanto l'estetica come antefatto della epistemologia, ma piuttosto la filosofia dell'arte che in taluni casi, e per talune questioni, può essere strumento della filosofia generale. Subito dopo essermi laureata discutendo una tesi che aveva a oggetto la ricezione del pensiero di Nietzsche nella filosofia anglo-americana, ricordo che discussi con Gianni Vattimo i modi per trarre un articolo da quell'elaborato: la ricezione nordamericana di Nietzsche era in effetti questione per lo più ignorata nel contesto europeo. Vattimo chiamò Valerio Verra per informarsi se Cultura
Scese da un taxi con la solita fretta controllata. Era abituato ad arrivare di corsa alle confere... more Scese da un taxi con la solita fretta controllata. Era abituato ad arrivare di corsa alle conferenze, si presentava pochi minuti prima di parlare, gettando gli organizzatori nel malcelato affanno di chi teme di trovarsi a gestire quei quaranta minuti che la pazienza ...
This book explores the complex domain of social reality, asking what this reality is, how it is c... more This book explores the complex domain of social reality, asking what this reality is, how it is composed and what its dynamics are in both theoretical and practical terms. Through the examination of some of the most important contemporary theories of social ontology, the book discusses the fundamentals of the discipline and lays the foundations for its development in the political sphere. By analyzing the notion of State and the redesign of ontology, the author argues in favor of a realist conception of the State and shows the reasons why this promotes a better understanding of the dynamics of power and the actualization of a greater justice between generations. This book captures the relationship between different generations within the same political context, and presents it as a necessary condition for the re-definition of the concepts of State and meta-State.
La realtà sociale è un dominio complesso, che ci interessa direttamente e quotidianamente. Perciò... more La realtà sociale è un dominio complesso, che ci interessa direttamente e quotidianamente. Perciò domandarsi che cos’è, come si compone e quali sono le sue dinamiche, è importante non solo in prospettiva teorica, ma anche sotto il profilo pratico. Che cos’è una promessa? Perché i patti ci vincolano al loro rispetto? Che cosa sono i patti tra le generazioni? Attraverso l’esame di alcune tra le più importanti teorie dell’ontologia sociale contemporanea, l’autrice discute i fondamenti della disciplina e pone le basi per un suo sviluppo nella sfera politica. Analizzando il concetto di Stato, e ridisegnandone l’ontologia, argomenta in favore di una concezione realista dello Stato, mostra le ragioni per cui essa favorisce una migliore comprensione delle dinamiche di potere e l’attualizzazione di una maggiore giustizia tra le generazioni.
Provate a immaginare di entrare in una sala cinematografica in cui viene proiettato un film che p... more Provate a immaginare di entrare in una sala cinematografica in cui viene proiettato un film che parla del tempo, e di accorgervi che il tempo del film coincide con il tempo della vita degli spettatori. Magia? Suggestione? Semplicemente un'opera d'arte: The Clock. Ma cosa vuol dire che è un'opera d'arte? E, soprattutto, quando è arte? Questo saggio discute alcune delle risposte che sono state date dalla tradizione misurandole con le sfide aperte dall'arte contemporanea.
New English-Speaking Philosophy M.A. Curriculum in Turin Starting from October 2016, the Universi... more New English-Speaking Philosophy M.A. Curriculum in Turin Starting from October 2016, the University of Turin will offer a new MA program in philosophy taught in English: the Philosophy International Curriculum. The program aims at providing thorough insight into a comprehensive range of philosophical problems and at developing the distinctive transferable skills arising from an advanced philosophical education. A core curriculum on classical texts and issues is available, along with courses reaching out to forefront debates not only in current philosophy but also in foundational issues concerning contemporary politics, arts, and the sciences. The International Curriculum aims to promote the integration of students in an international research and working environment. It provides students with theoretical expertise both in the fields of metaphysics and ontology, philosophy of language and mind, logic and philosophy of science, aesthetics and philosophy of art, and in the areas of practical philosophy, in connection with – as in the Italian tradition of studies – the history of philosophical and scientific thought. The curriculum is an important opportunity to acquire useful skills for teaching, research, and any employment opportunity requiring the argumentation and critical analysis typical of a philosophical training, as well as knowledge related to the intersection between philosophy and the sciences of the mind. The new curriculum is addressed to international students but it is also open to Italian students, as well as to Erasmus mobility from European Countries. Each course adds up to 6 ECTS credits but for Philosophical Arguments that amounts to 12 ECTS credits. Students must gain 60 ECTS credits per year, including 30 credits reserved to the dissertation.
The interdisciplinary English language journal Art and Law, aims to gather outstanding contributi... more The interdisciplinary English language journal Art and Law, aims to gather outstanding contributions to the fascinating debate at the intersection of art and law. The focus of the journal involves all the aspects (philosophical, juridical, sociological, technological and cultural) characterizing the relationship between art and law.
Brill Research Perspectives in Art and Law
The editorial Project. Brill Research Perspectives bu... more Brill Research Perspectives in Art and Law
The editorial Project. Brill Research Perspectives builds on existing product types familiar to librarians and end-users (researchers and students) — it combines the peer-review of journals, the high usage of reference works, and the pedagogy of textbooks. In addition, the business model is based on the tried and true format of a serial publication with both subscription and site-license sales models. Brill Research Perspectives follows the successful formula of NOW’s Foundations and Trends™ which was the first product that combined the verification of the peer-review process and the synthesis of information found in reference works delivered on a real time basis.
The A&L Journal. On behalf of the University of Turin and of the Käte Hamburger Kolleg „Recht als Kultur“, the interdisciplinary journal Brill Research Perspectives in Art and Law aims to gather outstanding contributions to the fascinating debate at the intersection of art and law. The focus of the journal involves all the aspects (philosophical, juridical, sociological, technological and cultural) characterizing the relationship between law and art as well as the questions common to the two fields (e.g. normativity).
Chief-Editors: Prof. Tiziana Andina (University of Turin), Prof. Gianmaria Ajani (University of Turin), Werner Gephart (University of Bonn).
Assistant Editors: Dr. Angela Condello (University of Roma Tre), Dr. Enrico Terrone (Collége d’Etudes Mondiale)
Editorial Board: Prof. Emanuele Conte (University of Roma Tre), Prof. David Davies (McGill University), Prof. Alessandra Donati (University of Milano Bicocca), Prof. Thomas Dreier (Karlsruhe Institute for Technology (KIT), University of Freiburg), Prof. Maurizio Ferraris (University of Turin), Prof. Pierpaolo Forte (Director of Museo Madre, Naples and University of Sannio), Prof. Peter Goodrich (Cardozo School of Law), Prof. Desmond Manderson (Australian National University), Prof. Greta Olson (Justus-Liebig-Universität Giessen), Dr. Sabine N. Meyer (University of Osnabrueck), Dr. Stewart Motha (Birkbeck Law School, London), Prof. Andreas Philippopoulos-Mihalopoulos (Westminster School of Law, London), Prof. Eva Schürman (Otto-von-Guericke-Universität Magdeburg), Prof. Peter Schneck (University of Osnabrueck), Prof. Reinold Schmücker (University of Münster), Prof. John Searle (University of California, Berkeley), Prof Alberto Voltolini (University of Turin).
Our practices of knowledge attribution, acquisition, and justification can systematically disadva... more Our practices of knowledge attribution, acquisition, and justification can systematically disadvantage women and other subordinated groups: by excluding them from inquiry; denying them epistemicauthority, denigrating their modes of knowledge; producing theories that portray them as inferior,deviant; producing social theories that make gendered power relations invisible;reinforcing genderbias and social hierarchies. Can we remedy these forms of injustice? This issue of the Rivista di estetica addresses what needs to change in our knowledge practices; how we can challenge the narrowness of what is understood as philosophical knowledge; how the concept of knowledge should be considered in connection with notions such as trust, reliance, testimony, authority, credibility; how to revisit theways in which we measure quality and ability and what we should do in order to promote diversity and pluralism in knowledge.
International Conference "The Age of Art. Aesthetics and grammar of contemporary artistic languag... more International Conference "The Age of Art. Aesthetics and grammar of contemporary artistic languages" Università di Firenze Dipartimento di Lettere e Filosofia 7-8-9 November 2019
Thursday 7 November 2019, Dipartimento di Lettere e Filosofia, Sala del Consiglio, via della Pergola 58-60
Chair: Alessandro Nigro (Firenze) 14.30-15.00: Welcome and greetings 15.00-15.30: Fabrizio Desideri (Firenze), Opening remarks 15.30-16.30: Carole Talon-Hugon (Nice Sophia Antipolis), Art Under Control 16.30-17.30: Sandro Scarrocchia (Politecnico di Milano), Sulla nozione di "grammatica storica" in rapporto ad Alois Riegl e alla Wiener Schule der Kunstgeschichte 17.30-17.45: Coffee Break 17.45-18.15: Hyun Höchsmann (ECNU, Shanghai), Elective Affinities –Alois Riegl and Walter Benjamin 18.15-18.45: Zsolt Bátori – Borbála Jász (Budapest), Architectural Language
Friday 8 November 2019, Dipartimento di Lettere e Filosofia, Sala del Consiglio, via della Pergola 58-60
Chair: Emanuele Arielli (Venezia) 09.00-10.00: Diarmuid Costello (Warwick), Photography as an Art 10.00-11.00: Beryl Graham (Sunderland), An Aesthetics of Interaction and Participation? New Media Art, and Histories of Exhibitions 11.00-11.30: Coffee break 11.30-12.30: Pietro Montani (Roma), Rules of Interactivity 12.30-13.00: Sanja Bojanic (Rijeka), New materiality and old syntax (under the skin of Ed Atkins) 13.00-13.30: General discussion 13.30-14.30: Lunch
Chair: Andrea Borsari (Bologna) 15.00-16.00: Annette Jael Lehmann (Berlin), Wider Frameworks. Blurting in A & L and other Projects by Art & Language 16.00-17.00: Andrea Mecacci (Firenze), Pop Goes Hyperreal 17.00-17.15: Coffee break 17.15-17.45: Emanuele Arielli (Venezia), Aesthetic irreproducibility in contemporary art practices 17.45-18.15: Matthew William Rowe (London), The Artistic Language of Conceptual Art 18.15-18.45: Marta Rosa (Firenze), The Great Challenge of Performance Art: Creating an Ontology
Saturday 9 November 2019, Biblioteca Umanistica, Sala Comparetti, Piazza Brunelleschi, 4
Chair: Tiziana Andina (Torino) 09.00-10.00: Andrew Benjamin (London), Meaning, Movement and the Body: Grammar and Gesture 10.00-10.30: Virgilio Sieni (Firenze), Sul Gesto 10.30-10.45: Coffee break 10.45-11.15: Davide Dal Sasso (Torino), The Revealed Grammars and the Evolution of Contemporary Artistic Practices 11.15-11.45: Gabriele Marino (Torino), The age of Internet memes: Forms and contents of the leading contemporary visual language 11.45-13.30: Roundtable “Interactions: il pubblico nell’età dell’arte. Linguaggi artistici contemporanei e nuove forme di fruizione”, with Tiziana Andina (Torino), Pina De Luca (Salerno), Roberto Diodato (Milano), Luca Farulli (Firenze), Andrea Viliani (Museo Madre - Napoli). 13.30-14.30: Lunch
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Papers by Tiziana Andina
When we make a judgment of taste looking, say, at the Mona Lisa, what does
that mean exactly? What do we mean when we say that “the Mona Lisa is beautiful and an absolute masterpiece of Western art”? This statement contains a judgment of taste (Mona Lisa is beautiful) and an artistic judgment (it is a masterpiece of Western art). In what follows I will show that: i) the two judgments are different, ii) both judgments have normative nature, but the normativity of the judgment of taste refers to different elements from the artistic judgment and, finally, iii) contemporary visual arts require the formulation of an artistic judgment rather than a judgment of taste.
When we make a judgment of taste looking, say, at the Mona Lisa, what does
that mean exactly? What do we mean when we say that “the Mona Lisa is beautiful and an absolute masterpiece of Western art”? This statement contains a judgment of taste (Mona Lisa is beautiful) and an artistic judgment (it is a masterpiece of Western art). In what follows I will show that: i) the two judgments are different, ii) both judgments have normative nature, but the normativity of the judgment of taste refers to different elements from the artistic judgment and, finally, iii) contemporary visual arts require the formulation of an artistic judgment rather than a judgment of taste.
Attraverso l’esame di alcune tra le più importanti teorie dell’ontologia sociale contemporanea, l’autrice discute i fondamenti della disciplina e pone le basi per un suo sviluppo nella sfera politica. Analizzando il concetto di Stato, e ridisegnandone l’ontologia, argomenta in favore di una concezione realista dello Stato, mostra le ragioni per cui essa favorisce una migliore comprensione delle dinamiche di potere e l’attualizzazione di una maggiore giustizia tra le generazioni.
The editorial Project. Brill Research Perspectives builds on existing product types familiar to librarians and end-users (researchers and students) — it combines the peer-review of journals, the high usage of reference works, and the pedagogy of textbooks. In addition, the business model is based on the tried and true format of a serial publication with both subscription and site-license sales models. Brill Research Perspectives follows the successful formula of NOW’s Foundations and Trends™ which was the first product that combined the verification of the peer-review process and the synthesis of information found in reference works delivered on a real time basis.
The A&L Journal. On behalf of the University of Turin and of the Käte Hamburger Kolleg „Recht als Kultur“, the interdisciplinary journal Brill Research Perspectives in Art and Law aims to gather outstanding contributions to the fascinating debate at the intersection of art and law. The focus of the journal involves all the aspects (philosophical, juridical, sociological, technological and cultural) characterizing the relationship between law and art as well as the questions common to the two fields (e.g. normativity).
Chief-Editors: Prof. Tiziana Andina (University of Turin), Prof. Gianmaria Ajani (University of Turin), Werner Gephart (University of Bonn).
Assistant Editors: Dr. Angela Condello (University of Roma Tre), Dr. Enrico Terrone (Collége d’Etudes Mondiale)
Editorial Board: Prof. Emanuele Conte (University of Roma Tre), Prof. David Davies (McGill University), Prof. Alessandra Donati (University of Milano Bicocca), Prof. Thomas Dreier (Karlsruhe Institute for Technology (KIT), University of Freiburg), Prof. Maurizio Ferraris (University of Turin), Prof. Pierpaolo Forte (Director of Museo Madre, Naples and University of Sannio), Prof. Peter Goodrich (Cardozo School of Law), Prof. Desmond Manderson (Australian National University), Prof. Greta Olson (Justus-Liebig-Universität Giessen), Dr. Sabine N. Meyer (University of Osnabrueck), Dr. Stewart Motha (Birkbeck Law School, London), Prof. Andreas Philippopoulos-Mihalopoulos (Westminster School of Law, London), Prof. Eva Schürman (Otto-von-Guericke-Universität Magdeburg), Prof. Peter Schneck (University of Osnabrueck), Prof. Reinold Schmücker (University of Münster), Prof. John Searle (University of California, Berkeley), Prof Alberto Voltolini (University of Turin).
Can we remedy these forms of injustice? This issue of the Rivista di estetica addresses what needs to change in our knowledge practices; how we can challenge the narrowness of what is understood as philosophical knowledge; how the concept of knowledge should be considered in connection with notions such as trust, reliance, testimony, authority, credibility; how to revisit theways in which we measure quality and ability and what we should do in order to promote diversity and pluralism in knowledge.
Università di Firenze
Dipartimento di Lettere e Filosofia
7-8-9 November 2019
Thursday 7 November 2019, Dipartimento di Lettere e Filosofia, Sala del Consiglio, via della Pergola 58-60
Chair: Alessandro Nigro (Firenze)
14.30-15.00: Welcome and greetings
15.00-15.30: Fabrizio Desideri (Firenze), Opening remarks
15.30-16.30: Carole Talon-Hugon (Nice Sophia Antipolis), Art Under Control
16.30-17.30: Sandro Scarrocchia (Politecnico di Milano), Sulla nozione di "grammatica storica" in rapporto ad Alois Riegl e alla Wiener Schule der Kunstgeschichte
17.30-17.45: Coffee Break
17.45-18.15: Hyun Höchsmann (ECNU, Shanghai), Elective Affinities –Alois Riegl and Walter Benjamin
18.15-18.45: Zsolt Bátori – Borbála Jász (Budapest), Architectural Language
Friday 8 November 2019, Dipartimento di Lettere e Filosofia, Sala del Consiglio, via della Pergola 58-60
Chair: Emanuele Arielli (Venezia)
09.00-10.00: Diarmuid Costello (Warwick), Photography as an Art
10.00-11.00: Beryl Graham (Sunderland), An Aesthetics of Interaction and Participation? New Media Art, and Histories of Exhibitions
11.00-11.30: Coffee break
11.30-12.30: Pietro Montani (Roma), Rules of Interactivity
12.30-13.00: Sanja Bojanic (Rijeka), New materiality and old syntax (under the skin of Ed Atkins)
13.00-13.30: General discussion
13.30-14.30: Lunch
Chair: Andrea Borsari (Bologna)
15.00-16.00: Annette Jael Lehmann (Berlin), Wider Frameworks. Blurting in A & L and other Projects by Art & Language
16.00-17.00: Andrea Mecacci (Firenze), Pop Goes Hyperreal
17.00-17.15: Coffee break
17.15-17.45: Emanuele Arielli (Venezia), Aesthetic irreproducibility in contemporary art practices
17.45-18.15: Matthew William Rowe (London), The Artistic Language of Conceptual Art
18.15-18.45: Marta Rosa (Firenze), The Great Challenge of Performance Art: Creating an Ontology
Saturday 9 November 2019, Biblioteca Umanistica, Sala Comparetti, Piazza Brunelleschi, 4
Chair: Tiziana Andina (Torino)
09.00-10.00: Andrew Benjamin (London), Meaning, Movement and the Body: Grammar and Gesture
10.00-10.30: Virgilio Sieni (Firenze), Sul Gesto
10.30-10.45: Coffee break
10.45-11.15: Davide Dal Sasso (Torino), The Revealed Grammars and the Evolution of Contemporary Artistic Practices
11.15-11.45: Gabriele Marino (Torino), The age of Internet memes: Forms and contents of the leading contemporary visual language
11.45-13.30: Roundtable “Interactions: il pubblico nell’età dell’arte. Linguaggi artistici contemporanei e nuove forme di fruizione”, with Tiziana Andina (Torino), Pina De Luca (Salerno), Roberto Diodato (Milano), Luca Farulli (Firenze), Andrea Viliani (Museo Madre - Napoli).
13.30-14.30: Lunch