Archivi categoria: Estetica

Journal of Somaesthetics: una rivista online di somaestetica

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Journal of Somaesthetics è la giovane rivista online accademica dedicata alla somaestetica.

The Journal of Somaesthetics is a peer-reviewed, online, academic research journal devoted to research that advances the interdisciplinary field of somaesthetics, understood as the critical study and meliorative cultivation of the experience and performance of the living body (or soma) as a site of sensory appreciation (aesthesis) and creative self-stylization.

Somaesthetics is an interdisciplinary research product devoted to the critical study and meliorative cultivation of the experience and use of the living body (or soma) as a site of sensory appreciation (aesthesis) and creative self-stylization. An ameliorative discipline of both theory and practice, somaesthetics seeks to enrich not only our discursive knowledge of the body but also our lived somatic experience and performance; it aims to improve the meaning, understanding, efficacy, and beauty of our movements and of the environments to which our actions contribute and from which they also derive their energies and significance. To pursue these aims, somaesthetics is concerned with a wide diversity of knowledge forms, discourses, social practices and institutions, cultural traditions and values, and bodily disciplines that structure (or could improve) such somatic understanding and cultivation, and it is therefore an interdisciplinary project, in which theory and practice are closely connected and reciprocally nourish each other. It is not limited to one theoretical field, academic or professional vocabulary, cultural ideology, or particular set of bodily disciplines. Rather it aims to provide an overarching theoretical structure and a set of basic and versatile conceptual tools to enable a more fruitful interaction and integration of the very diverse forms of somatic knowledge currently being practiced and pursued. There is an impressive, even overwhelming abundance of discourse about the body in many disciplines of contemporary theory and commercial enterprise. But such somatic discourse typically lacks two important features. First, a structuring overview or architectonic that could integrate their very different discourses into a more productively coherent or interrelated field. It would be useful to have a broad framework (which does not mean a unified, highly consistent system) that could connect, for example, the discourse of biopolitics to the therapies of bioenergetics, the neuroscience of hand gestures to their aesthetic meaning in Nõ theater. The second feature lacking in most academic discourse on embodiment is a clear pragmatic orientation — something that the individual can clearly employ or apply to his or her life in terms of disciplines of improved somatic practice. Somaesthetics offers a way to address both these deficiencies.”

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Archiviato in Estetica, Periodici

eBook di filosofia: B. Waldenfels, Estraneo, straniero, straordinario. Saggi di fenomenologia responsiva

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Bernhard Waldenfels, Estraneo, straniero, straordinario. Saggi di fenomenologia responsiva

“Al centro dell’attenzione di Waldenfels è il tema dell’estraneità, considerato, in controtendenza con le teorie più diffuse, elemento originario dell’esperienza. La sua fenomenologia mette a fuoco tutti i passaggi in cui l’ordinario e lo straordinario, il soggetto e l’altro si intrecciano.
Ne viene un’analisi minuziosa e appassionante della vita quotidiana, ma anche dell’arte e dei modi della rappresentazione fino a un ripensamento delle forme della politica e a un abbozzo di etica fondata sul primato dell’attenzione. In tal modo la filosofia di Waldenfels fa vedere al lettore come nei diversi fenomeni dell’esperienza sia sempre presente come motivo originario una stra-ordinarietà a cui è opportuno prestare attenzione perché un ordine possa costituirsi, nella vita ma pure nella politica e nell’arte.
Il volume si colloca al centro dei dibattiti filosofici contemporanei e dialoga criticamente con i maggiori autori degli ultimi decenni: Foucault, Derrida, Levinas, Marion in Francia; Henrich e Habermas in Germania, ma attinge anche ampiamente alla letteratura, all’arte e alla musica, così da offrire anche al lettore non specialista copia di osservazioni acute e illuminanti.”

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Archiviato in eBook di Filosofia, Estetica, Etica, Filosofia contemporanea

Critical Studies in Improvisation: una rivista online sull’improvvisazione

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Critical Studies in Improvisation/ Études critiques en improvisation è una rivista online accademica dell’Università di Guelph sull’improvvisazione e sull’analisi dell’impatto sociale di questa pratica.

“While improvisational music has historically been analyzed within specific musical disciplines, what distinguishes the research profiled in CSI/ECI is its emphasis on improvisation as a site for the analysis of social practice. We contend that improvisation demands shared responsibility for participation in community, an ability to negotiate differences, and a willingness to accept the challenges of risk and contingency. Yet improvisation is a contested term. Its cultural significance is in dispute both in the academy and in the broader public understanding. CSI/ECI seeks to reveal the complex structures of improvisational practices and to develop an enriched understanding of the social, political, and cultural functions those practices play.

We are particularly interested in historically and contextually specific articles that interrogate improvisation as a social and musical practice, and that assess how innovative performance practices play a role in developing new, socially responsive forms of community building across national, cultural, and artistic boundaries.”

 

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Archiviato in Estetica, musica, Periodici

eBook di filosofia: R. Shusterman, Etica ed estetica: somaestetica e l’arte di vivere

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Richard Shusterman, Etica ed estetica: somaestetica e l’arte di vivere

“Ethics and aesthetics tend to be sharply distinguished and frequently opposed as rival realms of value. The apparent conflict between them is discomforting for artists and theorists who seek to combine aesthetic values and ethical aims in their work. My article strives to ease this theoretical tension in two ways. First, through a genealogical analysis of the complexity of our concepts of ethics and aesthetics, I argue that, in some of their historical conceptions, they display considerable convergence. Here I appeal both to classical Western and Asian theories of ethics and aesthetics. Second, I show how these notions converge in the pragmatist, somaesthetic notion of an embodied art of living.”

Per approfondire il tema della somaestetica, si segnala una bibliografia tematica

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Archiviato in eBook di Filosofia, Estetica, Etica

Film-Philosophy: una rivista online sul rapporto tra film e filosofia

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Film-Philosophy è la rivista online accademica pubblicata dall’Università di Edinburgo che indaga il rapporto fecondo tra film e filosofia.

“The journal is interested in the ways in which films develop and contribute to philosophical discussion. We particularly welcome articles that set up an active engagement between film studies and philosophy, thereby sustaining a thoughtful re-evaluation of key aspects of each discipline.”

 

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Archiviato in Estetica, Filosofia contemporanea, Periodici

Mnemosyne. Meanderings through Aby Warburg’s Atlas: online dieci pannelli

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Mnemosyne, l’ultimo progetto di Aby Warburg, è un “atlante figurativo composto da una serie di tavole, costituite da montaggi fotografici che assemblano riproduzioni di opere diverse: testimonianze di ambito soprattutto rinascimentale (opere d’arte, pagine di manoscritti, carte da gioco, etc.); ma anche reperti archeologici dell’antichità orientale, greca e romana; e ancora testimonianze della cultura del XX secolo (ritagli di giornale, etichette pubblicitarie, francobolli).”

The actual panels of the “last version” are no longer extant; only black and white photographs (18 x 24 cm) of them remain, held in the archives of the Warburg Institute. However, seventy-one years after Warburg’s death, Martin Warnke with the assistance of Claudia Brink, produced a magnificent edition of the atlas based on the “last version.” [See Der Bilderatlas: Mnemosyne in Warburg’s Gesammelte Schriften, II.1 (Berlin: Akademie Verlag, 2000 [reprinted in 2003, 2008]). The other volumes in the Gesammelte Schriften, from the two volumes of Warburg’s published writings [I.1-2], the Tagebuch der Kulturwissenschaftlich Bibliothek Warburg [VII] to the just published, Austellungen [II.3], offer other avenues for interpreting and supplementing the Mnemosyne Atlas.] In addition to providing Warburg’s draft Introduction to the Mnemosyne Atlas – a key if characteristically knotty fragmentary text – they also reproduce Fritz Saxl’s illuminating letter to a prospective publisher regarding the Atlas, while Warnke’s own Introduction provides important details about the Mnemosyne Atlas, its genesis, scope, and potential meanings.

We know, then, that Warburg’s plan had been to complete at least 79 and perhaps as many as 200 panels. Typically, though, Warburg’s vision was not fully realized. As we have it, the Atlas is frozen in a provisional state: panels appear without titles; individual images – there are 971 in all – were for the most part displayed without titles or other identifying information; and while some photographs are matted, most are not. Fortunately, though, in a notebook titled Überschriften: Synopsis of Plates [WIA, III.104.1], Warburg’s colleague Gertrud Bing, following her mentor’s lead, offers brief headings for each panel, furnishing thereby a kind of conceptual shorthand signposting main subjects and themes. For instance, the headings summarizing the astrological symbolism of panel 22 read: “Spanish-Arabic practice. (Alfonso). Manipulation. The cosmic system as dice table. Sorcery. Lithomancy.” Such abbreviated, aphoristic indications of what and how we are to interpret resemble the headings of an encyclopedic entry – albeit an encyclopedia consisting entirely of pictures. Or, if you will, the photographs of the panels serve as a set of post-modern grisailles, a belated memory palace, which invites us to contemplate Warburg’s syncretic vision of the afterlife of pagan symbolism and cosmography in medieval, Renaissance, and post-Renaissance art and thought.”

Nel sito Mnemosyne. Meanderings thorugh Aby Warburg’s Atlas trovate le fotografie di questi dieci pannelli accompagnati da una spiegazione e da suggerimenti bibliografici:

Panel B traces correspondences between the human being and the cosmos that underlie all other analogical associations in Warburg’s atlas. Spyros Papapetros offers this guided pathway.
Panel C addresses the epistemology and the practice of the creation of symbols. Claudia Wedepohl guides this pathway.
Panel 8 is given over to antique cults that centered on solar deities. Elizabeth Sears lights the way.
Panel 45 depicts excessive and alarming occurrences, the dangers of intense and unmediated passions. Hans Christian Hönes is our guide.
Panel 46 presents variations on the gesture of “bearing something/someone to something/someone else.” Andrea Pinotti elucidates.
 

Panel 47 is concerned with Florentine art of the later fifteenth century, exploring themes of protection and slaughter through the figure of the nymph. Ben Anderson provides this guided pathway.
Panel 48 is concerned with the shifting uses of the pagan goddess Fortuna in medieval and Renaissance imagery. Florian Fuchs provides this guided pathway.
Panel 61-64  is concerned with the storms of ambivalence, transformation, and conflict that characterize the of transmission Antiquity, despite the putative stability of the heritage. Lisa Robertson navigates.
Panel 70 is devoted to “Baroque Pathos.” This guided pathway traces the status of the Baroque in Warburg’s Atlas, which tends to privilege the Renaissance and its reception of antiquity. Jane O. Newman is our guide, with Laura Hatch.
Panel 79 has as its principal theme the Eucharist. Christopher D. Johnson provides this guided pathway.

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Archiviato in Bibliografie, Estetica

Un philosophe. Revue électronique de philosophie, de littérature et d’art

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Un philosophe. Revue électronique de philosophie, de littérature et d’art è lo spazio web dedicato alla filosofia, alla letteratura e alle arti che presenta articoli e saggi didattici e “specialistici”. È presente anche una sezione di lingua inglese e italiana.

 Un Philosophe est cet être qui se dessine sous une multiplicité de visages, acteur et spectateur du monde comme il va.

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Archiviato in Estetica, Filosofia contemporanea, Filosofia della letteratura, Periodici

Aisthema. International Journal: una rivista online di estetica

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Aisthema. International Journal. Philosophy Theology Aesthetic è la rivista online internazionale che pubblica contributi, filosofici e teologici, che vertono su quegli ambiti tradizionalmente afferenti alla disciplina estetica: dalla poesia alla letteratura, dalla pittura alla musica, dal teatro al cinema.

La rivista è edita dal Seminario permanente di Studi Storico-Filosofici “Pasquale Orlando” della Pontificia Facoltà Teologica dell’Italia Meridionale, sezione “S. Tommaso d’Aquino”, su iniziativa del Laboratorio di Estetica del suddetto Seminario permanente.

L’obiettivo di Aisthema, nella consapevolezza della dimensione sapienziale e metafisica della filosofia, è quello di promuovere la ricerca filosofica anche per mezzo della diffusione di testi che, consacrati a problemi classici o contemporanei, sappiano guardare, oltre gli steccati dei rigidi curricula accademici, alla commistione e all’incrocio di saperi, metodologie e linguaggi diversificati.

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Archiviato in Estetica, Periodici, Teologia

Proteus. Cahiers de théories de l’art: una rivista online di estetica

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Proteus.Cahiers de théories de l’art è la rivista online semestrale accademica, fondata nel 2009 e aperta a tutti gli approcci e le discipline utili per comprendere i molteplici aspetti dell’espressione artistica.

“Cette perspective a pour objectif la dynamisation d’un corps d’étude qui nous est cher, par l’établissement d’un examen critique des relations qu’entretient la théorie avec l’art. Ceci inclut tout d’abord une volonté de renouveler l’approche critique des questions esthétiques, à un moment où le terme vogue, indécis, entre la cosmétique et le jargon de spécialiste, tout en rappelant l’ouverture des théories de l’art à d’autres champs et approches avec la rigueur inhérente à une démarche scientifique. Par la diffusion nécessairement transdisciplinaire des travaux les plus récents, nous entendons jeter sur l’esthétique un regard neuf à même d’élargir le lectorat des publications de recherche en sciences humaines, et donc de revaloriser cette recherche elle-même.”

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Archiviato in Estetica, Periodici

eBook di filosofia: M. Geiger, Introducción a la estética

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Moritz Geiger, Introducción a la estética

“Allievo di H. Lipps e di H. Wundt in psicologia e di Husserl in filosofia, collaborò con quest’ultimo allo Jahrbuch für Philosophie und phänomenologische Forschung. Prof. a Gottinga (1923-33), all’avvento del nazismo fu costretto a trasferirsi negli Stati Uniti, dove insegnò nel Vassar College di Poughkeepsie (N. Y.). Esponente del circolo fenome­nologico di Monaco, espresse nelle sue opere (tra cui Die philosophische Bedeutung der Relativitätst theorie, 1921; Systematische Axiomatik der Euklidischen Geometrie, 1924; Die Wirklichkeit der Wissenschaften und die Metaphysik, 1930) una posizione di empiri­smo radicale e l’esigenza di consi­derare l’analisi fenomenologica come una rigorosa riduzione dei fenomeni alla loro struttura essenziale. G. applicò questa interpretazione della fenome­nologia ai fonda­menti della matematica e ai problemi dell’inconscio, ma soprattutto importante è l’analisi della ‘espe­rienza estetica’ nei suoi Zugänge zur Aesthetik (1928; trad. it. Vie all’estetica: studi fenome­nologici), con cui pone le basi di una estetica fenome­nologica.” (tratto da Treccani.it)

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Archiviato in eBook di Filosofia, Estetica, Filosofia contemporanea