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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 Vita-Salute San Raffaele
È professore associato di Estetica (M-FIL/04) presso la Facoltà di Filosofia dell’Università Vita-Salute San Raffaele, dove insegna Estetica e forme del fare, Estetica, poetica e simbolica. Laurea di primo livello in Filosofia con “dignità di pubblicazione”; laurea magistrale in Filosofia con lode. Borsa di dottorato in “Filosofia della storia” presso l’Istituto italiano di Scienze Umane (SUM). Ha curato opere di Hegel, Kant, Simmel, Musil, Benjamin e Spaventa. Attualmente è responsabile del curriculum “Discipline filosofiche” all’interno del Dottorato di ricerca in “Filosofia” attivo presso l’Università Vita-Salute San Raffaele. Coordinatore di DIAPOREIN – Centro di Ricerca di Metafisica e di Filosofia delle arti e vice direttore del Master in Filosofia del cibo e del vino attivo presso la Facoltà di Filosofia dell’Università Vita-Salute San Raffaele. Dal 2012 è membro della Società italiana di estetica (SIE).
The present article focuses on the different attempts to achieve a conceptual frame for handicrafts in order to make them independent from the structures of industrial productions. By giving a chronological account of the failures of these different movements, such as Arts & Crafts, Maison d’Art and Bauhaus, this essay tries to investigate their sociohistorical background, thus making some links, for examples, between William Morris and Henry Cole, Muthesius and Weber, Musil and Bauhaus. By addressing the problem of history as a regress from a Weltanschauung to what Musil called Teillösungen, this article aims to evaluate some reasons for the contemporary inability of the arts of playing a leading role in the productive processes. In the opposition between the mere ideal activity (without social consequences), which characterizes the contemporary arts, and the real passiveness of the present conditions of work, completely enslaved by the mechanisms of industrial production, probably a peculiar place is to be acknowledged to the handicrafts.
Keywords: Muthesius, Van de Velde, design, Klee, Tafuri.
The essay proposes a reflection on design intended as a more and more undistinguishable moment between the work of art and the common beings or world-environment. In our contemporaneity we tolerate less and less that strange transcendence of the work of art on the world-environment, in which modern tradition celebrates itself and the cult of a singular subjectivity. A continuity between the works of art and the community of work, in which the styles of our long modernity are becoming a distant memory, is becoming ever more normal. However, the undistinguishable quality between work of art and design would not be comprehensible if not encircled in a stilema phenomenology. If by stilema we did not intend the element in which the maximum grade of visibility of an epochal horizon is exposed. Extreme visibility, a visibility into which phenomenological tradition runs with the frail oxymoron of an appearance that converts into a certain inappearance. The stilema, thus, like the name for the exposition of this inappearance, for an appearance brought to its conversion into the inappearance, for the being of beings that from Heidegger on we try to inherit in its difference (without diverging) from the beings.
Keywords: parergon, being, art, design, stilema.
Università di Padova
Marcello Ghilardi è professore associato in Estetica all’Università di Padova. Le sue ricerche si concentrano sui rapporti tra arte e pensiero nel confronto fra le tradizioni europea e sino-giapponese; ha tradotto e commentato il testo del pittore cinese Shitao, Discorsi sulla pittura del monaco Zucca Amara (2014) ed è autore di diversi libri. Tra i più recenti: Filosofia dell’interculturalità (2012); Il vuoto, le forme, l’altro (2014), The Line of the Arch (2015); L’estetica giapponese moderna (2016); La filosofia giapponese (2018); La radice del sole (2019
Taking into account the notion of art in its problematic meaning in the contemporary world, where the themes and questions that grew up during the Modern Age are to be reconsidered, this paper focus on the long-lasting relationship between art and artcraft in Japanese culture. From that tradition, in fact, we can get some interesting hints in order to reformulate a covenant that seems to be lost between the practice of art and the gestures, the models, the frames and technical skills an artist should master, in order to produce a work of art. The important place and role accorded by the Japanese artistic tradition to the body and to the repetition of gestures aiming to understand how the artist can really deal with “forms” can reveal – also for the practice of design – that art is not necessarily linked, in the present day, only to a conceptual frame and to the all-encompassing words of art criticism, but it can be still fostered by a personal involvement and it can be at the origin of a self-transformation and realization.
Keywords: Geijutsu – gesture – body – kata – naturalness.
The essay endeavours to make the theme of the work of art interact with some instances of French contemporary phenomenology, and in particular with the work of an author that believes to have characterised this trend in a significant, certainly original way: Jean-Luc Marion. In particular we endeavour to show how the originality of the development that this author believes to have given to phenomenology has to do with, finds a certain reason and maybe an origin in, and surely finds an element of strong, exemplary demonstration in, that event that we should call work of art.
Keywords: work of art, picture, phenomenology, Marion, visibility.
Maria Furlan (1921) is an artist who comes from Treviso. Her artistic production – combining art, crafts and design – has raised many questions. By the “voice of the spool” – expression used for the first time by Sophocles in reference to the activity of weaving – she produces artworks, preferring reproductions of masterpieces of art that inspire her. Although her work may appear as a simple reproduction, there is a conscious, methodological choice made by Furlan. Reproducing a famous work of art using a needle and thread means studying and understanding its profound secrets. Moreover, bringing the works of art closer to the most disinterested target audience suggests a more popular aura of it instead of the sacred aura theorized by Walter Benjamin. At the same time, using a sewing machine to devote herself to the artistic activity, which in her youth had been foreclosed, is also a way to liberate herself, reminding us of a modern Penelope.
Keywords: needle and thread, weave, sewing machine, “voice of the spool”, popular traditions (filò).
The text proposes to investigate the theories that have promoted the use of the music as harmful for the filmic text, above all for the work of enchaintment that it produces on the spectator, starting from Adorno to contemporaries theories.
Keywords: soundtrack, musicoclashes, Adorno-Eisler, John Cage.
