Nicola Perullo
Full Professor of Aesthetics and Rector of the University of Pollenzo
Philosopher and Essayst.
Major Research Areas:Philosophy of Food and Aesthetics of tastePerception, Ecology and Education, Aesthetics and Ethics, Neopragmatism and Deconstruction.
Nicola Perullo (born in 1970 in Livorno), philosopher, is full professor of Aesthetics at the University of Gastronomic Sciences.He was awarded a research doctorate degree in Philosophy in 2001 from the University of Pisa, where he studied under the guidance of Aldo Gargani. His early areas of interest included Wittgenstein, the philosophy of language, Nietzsche, Husserl, Heidegger, American neopragmatism, and psychoanalysis. Later, he furthered his studies in Paris with Jacques Derrida. His thesis was dedicated to Derrida, Wittgenstein, and Austin and Searle’s theory of linguistic acts. In 1997, he translated and edited Derrida’s book “Limited Inc” for the publishing house Raffaello Cortina Editore. During the years of his doctorate studies, Perullo gained an interest in Aesthetics, starting with Giambattista Vico and the period of the 17th and 18th centuries.
His first book, published in 2002 was on Vico and to the the debate on the souls of animals and the origin of humanity. In more recent years, he has undertaken long term research on the relationships between philosophy, aesthetics, food, and drink. Beginning from his early publications (“Per un’estetica del cibo”, 2006, “L’altro gusto”, 2008, “Filosofia della gastronomia laica”, 2010), his work continued to deepen the connections between aesthetics, gastronomy, and taste (“Il gusto come esperienza”, 2012) and between food and art (“La cucina è arte? Filosofia della passione culinaria”, 2013). Nowadays, his work has been rooted in the idea of a philosophy with, based on a model of participative and relational knowledge. Elaborating in an original way ideas from Wittgenstein, Derrida, Merleau-Ponty, Jullien, Dewey and Tim Ingold, an ecological and implicative way of thinking based on notions of haptic, care, correspondence and task has been developed. The philosophy is an ecological aestethetics in which creativity of perception plays a fundamental role. His latest books: "Epistenology. Wine as Experience" (2020), "Estetica ecologica" (2020), "L' altro gusto" (2021), Epistenologia. Il vino come filosofia" (2021), "Estetica senza (s)oggetti. Per una nuova ecologia del percepire" (2022). He also edited the Italian edition of Tim Ingold, "Correspondences" (Corrispondenze, 2021), the Italian edition of Carolyn Korsmeyer, "Making Sense of Taste" (Il senso del gusto, 2014).
Philosopher and Essayst.
Major Research Areas:Philosophy of Food and Aesthetics of tastePerception, Ecology and Education, Aesthetics and Ethics, Neopragmatism and Deconstruction.
Nicola Perullo (born in 1970 in Livorno), philosopher, is full professor of Aesthetics at the University of Gastronomic Sciences.He was awarded a research doctorate degree in Philosophy in 2001 from the University of Pisa, where he studied under the guidance of Aldo Gargani. His early areas of interest included Wittgenstein, the philosophy of language, Nietzsche, Husserl, Heidegger, American neopragmatism, and psychoanalysis. Later, he furthered his studies in Paris with Jacques Derrida. His thesis was dedicated to Derrida, Wittgenstein, and Austin and Searle’s theory of linguistic acts. In 1997, he translated and edited Derrida’s book “Limited Inc” for the publishing house Raffaello Cortina Editore. During the years of his doctorate studies, Perullo gained an interest in Aesthetics, starting with Giambattista Vico and the period of the 17th and 18th centuries.
His first book, published in 2002 was on Vico and to the the debate on the souls of animals and the origin of humanity. In more recent years, he has undertaken long term research on the relationships between philosophy, aesthetics, food, and drink. Beginning from his early publications (“Per un’estetica del cibo”, 2006, “L’altro gusto”, 2008, “Filosofia della gastronomia laica”, 2010), his work continued to deepen the connections between aesthetics, gastronomy, and taste (“Il gusto come esperienza”, 2012) and between food and art (“La cucina è arte? Filosofia della passione culinaria”, 2013). Nowadays, his work has been rooted in the idea of a philosophy with, based on a model of participative and relational knowledge. Elaborating in an original way ideas from Wittgenstein, Derrida, Merleau-Ponty, Jullien, Dewey and Tim Ingold, an ecological and implicative way of thinking based on notions of haptic, care, correspondence and task has been developed. The philosophy is an ecological aestethetics in which creativity of perception plays a fundamental role. His latest books: "Epistenology. Wine as Experience" (2020), "Estetica ecologica" (2020), "L' altro gusto" (2021), Epistenologia. Il vino come filosofia" (2021), "Estetica senza (s)oggetti. Per una nuova ecologia del percepire" (2022). He also edited the Italian edition of Tim Ingold, "Correspondences" (Corrispondenze, 2021), the Italian edition of Carolyn Korsmeyer, "Making Sense of Taste" (Il senso del gusto, 2014).
less
Related Authors
InterestsView All (10)
Uploads
Papers by Nicola Perullo
Carlo Rovelli, Professor, Aix-Marseille University, France
‘Perullo offers us a fresh understanding of aesthetics,
not an aesthetics of subjectivism, but rather a wholistic
account which encompasses the whole setting in which the
object recedes into the perceiver’s perceptual field and aesthetic
value lies in the immediacy of their relation. This is an aesthetics not
of beautiful objects but of the relation of perceptual engagement.’
Arnold Berleant, Professor Emeritus of Philosophy, Long Island University, USA
‘Philosophy lies literally in the love of wisdom. Where love is compassionate, wisdom burns like the flame of a candle. Aesthetics, for Nicola Perullo,means doing philosophy by candlelight. In this book, Perullo takes us on an exhilarating tour through the world it illuminates – a shadowy, close-up world, without subjects or objects, ever on the brink of becoming. Let us join with him!’
Tim Ingold, Professor Emeritus of Social Anthropology, University of Aberdeen, UK
reviews and ratings. This distortion is linked to a corresponding conception of the gustatory experience, where mainly, if not exclusively, sensible aspects referring to an objective and static conception of food are taken into account. This objective and static conception is consistent with and supportive of the contemporary domain of visual food images, understood as immediate outputs of the gastronomic reality. As an alternative, I propose a haptic taste, that is, engaged and involved, processual and multisensory, as a model for a new kind of gastronomic criticism. Haptic taste can contribute to the creation of a contemporary gastronomic critique that, consciously reaping the increasing power that visual images have in the digital age, deconstructs them by arranging them along planes where they are experienced and questioned.
Carlo Rovelli, Professor, Aix-Marseille University, France
‘Perullo offers us a fresh understanding of aesthetics,
not an aesthetics of subjectivism, but rather a wholistic
account which encompasses the whole setting in which the
object recedes into the perceiver’s perceptual field and aesthetic
value lies in the immediacy of their relation. This is an aesthetics not
of beautiful objects but of the relation of perceptual engagement.’
Arnold Berleant, Professor Emeritus of Philosophy, Long Island University, USA
‘Philosophy lies literally in the love of wisdom. Where love is compassionate, wisdom burns like the flame of a candle. Aesthetics, for Nicola Perullo,means doing philosophy by candlelight. In this book, Perullo takes us on an exhilarating tour through the world it illuminates – a shadowy, close-up world, without subjects or objects, ever on the brink of becoming. Let us join with him!’
Tim Ingold, Professor Emeritus of Social Anthropology, University of Aberdeen, UK
reviews and ratings. This distortion is linked to a corresponding conception of the gustatory experience, where mainly, if not exclusively, sensible aspects referring to an objective and static conception of food are taken into account. This objective and static conception is consistent with and supportive of the contemporary domain of visual food images, understood as immediate outputs of the gastronomic reality. As an alternative, I propose a haptic taste, that is, engaged and involved, processual and multisensory, as a model for a new kind of gastronomic criticism. Haptic taste can contribute to the creation of a contemporary gastronomic critique that, consciously reaping the increasing power that visual images have in the digital age, deconstructs them by arranging them along planes where they are experienced and questioned.
The special guest of the conference is prof. Richard Shusterman, who will give a keynote speech titled Somaesthetics and the Fine Art of Eating.
condivisi nel tempo e nello spazio di tutti, nello spazio comune, lo spazio
sociale, al movimento di una coerenza attraverso la spoliazione del senso.
Spogliare il senso significa denudarlo, metterlo a terra senza trampoli e
orpelli. E quale sarebbe la consistenza di questa coerenza? Forse il fatto di essere la “mia”? Se ci fosse qualcosa del genere, l’operazione risulterebbe sbiadita. Non c’è proprietà, tutto entra in un flusso di corrispondenze, in una spirale continua. Questa coerenza è da intendersi come comprensione di un fluire nel quale tutto è legato, come un albero genealogico le cui radici si perdono nell’infinito del cosmo. Un’idea simile, forse con diversi intenti, era già per esempio quella di Spoerri coi suoi quadri trappola: prendere i resti e gli avanzi dei pasti consumati ed esperiti per fissarli poi su tela e renderli così fissi, in un’illusione di eterno. In realtà, si può vedere la cosa anche a rovescio: questa fissità si origina dall’astrazione che prende il flusso e lo osserva bloccandolo. Di fatto, tutto questo è qualcosa di ovvio, nel pensiero taoista e anche in Eraclito. E il pensiero frammentato e inframezzato al biografico – in ogni ambito, anche quello saggistico e filosofico, da Montaigne a Wittgenstein, per ricordare solo due autori su cui mi sono formato e a cui sono stato particolarmente intrecciato – non è certo qualcosa di inedito. Il punto, però, è se ci è utile, adesso, vederla così: mi pare che la frammentazione sia la cifra di questa realtà così collegata, e che sia possibile e fecondo attraversarla tentando di tracciare – costruendone e ricostruendone – linee intrecciate e coerenti dove il senso si spoglia di ogni irrigidimento. Scrivere appunti sul mezzo più triviale che c’è – secondo l’estetica intellettuale delle idee da piazzare sul trono – e poi distribuirli, come su tela, sul supporto cartaceo, qualcosa che “dura” (naturalmente non dura, forse dura meno di Internet). La scommessa che faccio, che facciamo – giacché le immagini qui proposte sono frutto di processi comuni – è che questa inversione di prospettiva sia utile. E che qualcosa possa arrivare, fornendo un piccolo contributo alla coltivazione di sé come compito, come responsabilità, al fine di una consapevolezza più alta del nostro abitare il mondo che percepiamo. L’obiettivo è quello di diventare più umani. Non: restare umani, ma diventarlo, come compito, a ogni tratto di più.