Studi culturali ed estetica EN 3
Blind peer review
La rivista attualmente è presente nell'elenco delle riviste di classe A per l'area 11 dell'Agenzia Nazionale di Valutazione del Sistema Universitario e della Ricerca (ANVUR) ai fini dell'Abilitazione Scientifica Nazionale
Università Ca’ Foscari di Venezia
This article explores the structural role of the reflection on the aesthetics of Ancient Egypt, as well as of Egypt-related metaphors and similes, within the work of Mario Perniola. The author argues that Perniola’s conception of Egypt stands as an open alternative to the traditional Platonic, Christian and Hegelian way of dealing with it as a kind of pre-history of Western civilization. On the contrary, Egyptian art is considered by Perniola as the starting point of a permanent current within Western aesthetics, therefore as an aspect of the aesthetics of contemporary art itself and society (Egyptian moment). The article thus
analyses Perniola’s characterization of an array of contemporary aesthetic phenomena (the neo-ancient, the sex appeal of the inorganic, etc.) through the lenses of their “Egyptian” dimension and philosophical meaning of the enigma.
Keywords: Egypt, Neo-ancient, tactility, inorganic, ritual feeling, enigma, aesthetic patience
Fondazione Museo dell’Industria e del Lavoro “Eugenio Battisti”, Brescia
In the Seventies “simulacrum” was a common term in the French intellectual debate, thanks to the reading of Nietzsche proposed by Pierre Klossowski and Gilles Deleuze, and later for its provocative use in Jean Baudrillard’s work. Perniola’s The society of simulacra
(1980) reframes these influent models in a sort of manifesto, aimed to outline an exit from the Seventies. Not really viable as social or political option, the enigmatic strategy depicted in this book will be enacted from Perniola himself, opening a new phase of his thought.
Keywords: simulacra, death, Seventies, sublime, politics
The text aims to provide an interpretation of Mario Perniola’s book Il Sex appeal dell’inorganico. The analysis reveals a contrast between the subject, heir to the humanistic tradition, and the new representative of the inorganic sex appeal, which is characterized by a new sensitivity and a new conception of experience. The latter measures the distance that separates it from the former in the exercise of conscious will.
Keywords: subject, inorganic, experience, desire, consciousness
The search for collective paths for philosophy and culture has been a constant in Mario Perniola’s reflection. Over the course of more than fifty years in which he has founded and directed many cultural and philosophical-political magazines, while he has collaborated intensely with others. The aim of this paper is to deepen his connection with magazines of his youth period, from 1961 to 1972, from Tempo Presente to Agaragar, passing through the experience of Situationist International and Ludd. These journals will be the breeding ground of Perniola’s entire philosophical, political and aesthetic reflection.
Keywords: Agaragar, Ludd, aesthetic, political-philosophy, Situazionist International
The richness of M. Perniola’s work, in addition to its innovative quality, lies in its trans-disciplinarity and in its multiple repercussion on different fields and areas of knowledge. In the context of the studies of digital networks and connective architectures, some categories proposed by his thoughts are particularly useful for the description of the transorganic ecologies and the new forms of feeling in the digital networks and the quality of the cultures of the digital natives. The following article presents an interpretation of five concepts present
in Perniola’s work used in the study and analysis of digital networks.
Keywords: digital network, transorganic, communicative ecologies, Action theory, Post-human
The objective of this paper is to explore Mario Perniola’s perspective on art between the years 1966 and 1972. During this six-year period Perniola elaborates – mainly influenced by his closeness to revolutionary and protest movements such as the Situationist Internationaland Ludd – a political and militant theory based on the dialectic overcoming of art. The year 1972, with the last issue of the journal Agar-Agar, marks the beginning of a theoretical rearrangement regarding art theory for the Italian philosopher. Whereas several scholars have recently focused on the later phase of Perniola’s thought on art, this paper wishes to draw the attention on a less investigated area of his researches. Specifically, I will develop his claims on the identity of art and revolution and his idea of an “artistic alienation” whichoriginated in Western society.
Keywords: art theory, alienation, separation, overcoming, avant-garde, Mario Perniola
Università della Calabria
The aim of the paper is to investigate the text of Maurice Merleau-Ponty’s conference The Film and the New Psychology, in order to deepen his choice of the seventh art as a paradigm for an idea of phenomenology based on the principle that every consciousness is, to
a certain degree, perceptual consciousness. This paper aims to show how the reflection of the French philosopher gives cinema the status of a paradigm of the Gestalt phenomenon, highlighting its ability to restore visibility to expression and perception, through the – technical
and artistic – reconstruction of the structure of behavior in its exteriority.
Keywords: cinema, psychology, Gestalt, perception, Phenomenology
Università di Roma Tor Vergata
Marco Deodati è docente nei licei e professore a contratto presso l’Università degli Studi di Roma “Tor Vergata”. Le sue ricerche si concentrano soprattutto sul pensiero fenomenologico, in particolare Husserl, Scheler, Heidegger, Merleau-Ponty, e su questioni etiche, in relazione specialmente al ruolo dei sentimenti e delle emozioni. Ha pubblicato vari saggi e articoli su riviste specializzate, tra cui: La dynamis dell’intenzionalità. La struttura della vita di coscienza in Husserl (Mimesis 2010), L’intenzionalità all’opera. Studi sul pensiero pratico di Husserl (Mimesis 2013).
The paper aims to take into account some phenomenological analyses on the phenomenon of Stimmung, which enjoyed considerable fortune in 20th century aesthetic and philosophical studies in general due to the fact that it goes beyond the limits of subjectivity. Some contemporary studies even point out its “objective” nature. By considering the analyses of Husserl, Heidegger, Waldenfels, however, it will be highlighted that mood is characterized by the dimensions of horizon, disclosure, pathos, thus showing an origin irreducible to the
Keywords: aesthetics, Stimmung, mood, feeling, Pathos, Phenomenology
Università di Salerno
is currently Assistant Professor of Theoretical Philosophy at University of Salerno (Italy). Main research topics include the concept of humanity and the concept of world. Areas of competence: philosophical anthropology, metaphysics, epistemology of human science, history of ideas. 2011-2017 he has been Vice Prasident of Helmuth Plessner Gesellschaft, an international network for the promotion of the Philosophical Anthropology. Among his publications: Il mondo. Profilo di un’idea (Mimesis, Milano 2017); Umanesimo. Storia, critica, attualità (ed. by M. Russo, Le Lettere, Firenze 2015); Al confine. Escursioni sulla condizione umana (Mimesis, Milano 2007).
The article offers a brief presentation of the aesthesiological theory developed by Helmuth Plessner, one of the fathers of German philosophical anthropology of the twentieth century. It is an ambitious project that seeks to link the Kantian systematic approach with a
hermeneutical phenomenology of the senses. Alongside an illustration of the key concepts, we highlight the points of greatest interest for the aesthetic discourse, in particular the comparison between sound and image, the topic of schematism and the intrinsic connection between culture and embodiment. They are precisely the points that make aesthetics an essential component of the anthropology of eccentricity proposed by the philosopher.
Keywords: senses, schematism, culture, embodiment, excentricity
Università di Udine
Luca Taddio è stato docente a contratto di Estetica presso l’Università di Udine, Trieste e Ferrara. Si occupa in particolare di filosofia della percezione e di teoria dell’immagine. Ha pubblicato i seguenti libri: Spazi immaginali (2004), Fenomenologia eretica (2011), L’affermazione dell’architettura (con Damiano Cantone, 2011), Global Revolution (2012), I due misteri (2012), Verso un nuovo realismo (2013).
This essay aims to tackle the meaning of the concept of illusions in relation to the terms “appearance” and “deception of the senses”. We intend to examine some cases of illusion to show how the idea of “a sensorial deception” is already a judgment about an experience:
indeed, the senses themselves do not deceive. Deception implies an epistemological position on reality. The same can be said of the relationship between appearance and reality: the appearance of illusions, as compared to reality, is an epistemological question rather than an ontological one. Illusions are part of reality and hence they convey a sense of it.
Keywords: illusion, ontology, perception, Gestalt, “form of life”