L'assente nella percezione

2019

Le proposizioni (1) e (2) escludono (3); (2) e (3) escludono (1); (3) e (1) escludono (2). Le pagine che seguono cercano di sviluppare in dettaglio queste tre ipotesi.

GUD, 2021

Firenze University Press eBooks, 2007

Prima parte Approcci filosofici Fabrizio Desideri, Il nodo percettivo e la meta-funzionalità dell'estetico Giorgio Maragliano, Tangibili lontananze Filosofia ed estetica del tatto Alessia Ruco, Sensi e arti in Plessner: tra Kunstwissenschaften ed estesiologia Massimo Palma, Percezioni Alterate e Moderne.Walter Benjamin e l'Hashish Elena Massarenti, Teoria della percezione ed estesiologia nella riflessione di Mikel Dufrenne Gianluca Valle, Pensare l'esperienza. Maldiney lettore Di Hegel Seconda parte Dialoghi con la teoria della percezione Riccardo Martinelli, Teoria dei suoni e antropologia: la percezione musicale nella psicologia della Gestalt Pietro Kobau, L'eredità di Gibson e lo "enactive approach" Marianna Bergamaschi Ganapini, Modularità e percezione diretta. Una critica a Fodor Lorenzo Bartalesi, La dimensione cognitiva dell'attenzione estetica Terza parte La percezione e le arti Alice Barale, Scovare l'invisibile: percezione e immagine in Aby Warburg Massimo Baldi, Del rapporto tra il linguistico e il percettivo all'interno dell'oggetto poetico Pina De Luca, La parola che porta tempesta. Sinestesia e puro sentire nella poesia di Rilke Francesco Galluzzi, La pittura dell'animale. Kojève su Kandinsky Andrea Mecacci, Impercettibilmente pop. La "second-hand reality" estetica di Warhol Nella terza parte, infine, vengono indagati alcuni momenti in cui artisti contemporanei hanno esemplarmente affrontato il nesso tra la loro pratica espressiva e l'articolazione della percezione (la dialettica tra linguisticità e percettività nel testo poetico, con esemplare considerazione dell'opera di Zanzotto; l'intreccio di riflessione, concretezza e astrazione che sta al centro del confronto tra Kojève e Kandinskij; gli ordini della realtà nella ricerca figurativa di Warhol). Nell'arco dell'anno accademico 2005-06 il progetto ha coinvolto studiosi delle

Questo saggio esplora il rapporto tra soggettivazione e comunicazione, adoperando un paradigma teoretico stratificato che adotta analisi di stampo tanto rappresentativo che affettivo. Assumendo la soggettivazione nel senso attribuito a questo concetto da Foucault, come un processo storico collegato una configurazione epistemologica e spaziotemporale ben definita, il saggio sostiene che la comunicazione audiovisuale operi come un dispositivo di posizionamento sociale e di mobilitazione percettiva. Inoltre, esso avanza la proposta teorica di analizzare le dinamiche di interazione e socializzazione, che sempre più spesso vengono generate dai cosiddetti nuovi media, in relazione alla New Economy al fine di evidenziare in che modo la produzione sociale sia sfruttata come valore di mercato.

Un approfondimento sulla regia teatrale del secondo Novecento dedicato alla figura di Gianfranco De Bosio. De Bosio, quindi, come chiave ermeneutica per valicare i limiti della contemporaneità, sondando attraverso la produzione intellettuale e artistica del regista, le possibilità offerte da uno sguardo di ampio raggio temporale che si nutre e si vivifica di cinque secoli di storia teatrale veneta e non solo, ma che, comunque, trova in una marcata appartenza territoriale ed in una visione fondamentalmente politica dell’arte le sue solide radici.

Postfazione a Maurice Marleau-Ponty, "Il primato della percezione e le sue conseguenze filosofiche", Edizioni Medusa, Milano 2004, pp. 95-114.

Il senso impervio. Vette e abissi dell'interpretazione estrema, 2023

In the well-established disciplinary field of 'trauma studies,' the relationship between traumatic experience and image or artwork has been the focus of an important line of reflection. Indeed, at the heart of traumatic experience, an extreme experience par excellence, there is the paradox of an experiential core whose immensity produces, in place of an assimilated experience that can be translated into a memorial image, an unassimilability that prevents a distancing from the past and an elaboration in the form of recollection. The present that emanates from the traumatic past is nachträglich because it comes not only 'after' but also 'in relation to' a past that clutters it, according to the double semantic bearing of the Freudian nach. This memorial paradox is a crucial field of questioning for artistic forms and their possibility of bearing witness, not so much to that experiential core - in any case 'missing' and impossible to 'represent' - but to its trait of disproportion, its unassimilability. The text starts from the important French debate of the early 2000s around the question of the 'unrepresentability' of the experiential horizon of the Shoah and the images of the concentrationary universe, and then focuses on the work "Birkenau" by German artist Gerhard Richter. The work deals with the photographs at the center of that debate in order to interrogate their testimonial implications and the paradoxical attempt to take charge within the horizon of meaning what most radically 'denies meaning'.

2024

Ci si domanda se si mantenga la coscienza oltre l'estinzione dell'Io e, nel caso, di quale coscienza si tratti

In the following dissertation Silence will be analyzed and studied. In particular, there will be a historical analysis of silence’s path in artistically valuable contents. In fact, the essay has been titled “Silence isn’t absence” and subtitled “Historical and Cultural study of Silence’s shapes in music”. Artist’s use of silence is, in terms of ways and means, the main medium of investigation that has been used to gain the necessary knowledge in order to progress in the research. The writing develops and progresses through different chapters. After a brief abstract, the first chapter, the introduction, contextualizes the research, it’s goals and development. In this part of the essay Silence is analyzed in a variety of contexts and situations. The definition of silence is taken under observation, the constant presence of the term absence appearing in it’s interpretation suggests to find new ways of expressing mute’s concept. physical aspects are also taken in consideration evaluating if silence is physically real. Once it is been stated that silence can’t be palpably established a philosophical dissolution is acknowledged. Music’s role is then introduced, giving the first clues of what the thesis is about. It is expressed the will to find a clarification of silence’s role in music history and it’s effect on the listener. The introduction ends with the suggestion to divide silence in two different kind of tools, a linguistic one and an artistic one. The first one is seen in the grammatical representation of silence in music, the pause; the second one instead is less functional, it was born later, an it consists in a philosophical image. This image is shown as a lone protagonist in a music composition as well as in the artistic portrayal. AP601 Written assignment 4 BAP515 Antonio Pietro Rescigno 17-12034 The second chapter consists in a methodological study; this analyses two types of philosophical approaches to a research (quantitative and qualitative). The quantitative approach appears to be more effective for scientific studies because it relates to a positivist orientation, which means, in consequence, that reality is believed to be acknowledgeable as a truth. Hypotheses lead the recognition of the study and consequentiality is a clue concept to aim or plan a quantitative abstraction. The qualitative research gives instead more opportunities when studying a historical or cultural subject; this is because this medium of research focuses con contextualization and understanding. It doesn’t accept one lonely truth but it enables a wider vision of the subject; it underlines singularity highlighting historical and social contests. Even if the study has been leaded by a philosophical versatility, it is inevitable that a qualitative mentality has guided many aspects. After a first analysis of the two types of study, it is shown how these can modulate depending on the use is made. Advantages are also stated after radicalization. Also, a small introduction of Kant and Nietzsche’s vision of perception is inquired. Finally the chapter ends with a look at Pierre Schaeffer’s listening categories. These are included here because they relate to how the researcher listens and how he can study his perceptions. The Third Chapter represents the actual start of the investigation, it subsists in a historical and literary deepening. This is done because history helps visualize the progression of artistic movements; making the reader comprehend what has lead an artist make a decision. This division starts form the origins of music, to understand how silence has been overcome with the introduction of music, and what did silence mean before the birth of tunes. The ideas of some naturalists have been analyzed and displayed. Among other scholars’s conclusions, Spencer, Darwin, Torrefranca and Bucher’s beliefs are set out. It is brought to attention that the study of instruments is also clue to understand how ancients compared themselves to silence. AP601 Written assignment 5 BAP515 Antonio Pietro Rescigno 17-12034 Finally notation and rhythm are focused showing how their introduction and development have changed the connection between silence and music. One of the search’s main focuses is the musicological analysis of silence. This in- depth study of the role of silence when implemented within a musical context needs to be done by researching the shape and expression of lull. To do this it is necessary not only an extensive knowledge of the history of music but it is essential to be masters of the notions concerning music theory and electronics. This long section takes under observation different ways of using silence by listening to artists like Bach, Schumann, Beethoven and Debussy. It is present, for every one of them, a brief historical contextualization in addition to an exhaustive and detailed score inspection. Finally, this musicological branch ends with a view on today’s use of silence as an expressive medium. No script on silence would be complete without a study on John Cage’s figure. The american composer has, in fact, remodeled music’s view on an immensity of subjects, silence is among them. His piece 4’33’’ is in fact debated, trying to understand it’s origin, reasons, meanings and influences. Cage’s interviews a writings are taken in consideration to understand at best the meaning of his composition. The composer’s impact and clout on today’s music is deliberated not forgetting to view the figurative and literary equivalent of mute. A final section of this chapter clarifies how silence is achieved in songs. Conclusions comprehend, finally, a brief summary of what has been done and achieved. Silence is said to be divided in two different categories, the so called pathetic and artistic silences. One is comparable to the pause, it is a notation and can be expressed as a linguistic tool, we can find it in the rest of a musical score. The other one, that has been defined as artistic silence, finds itself in the abstract and philosophical idea of a silence that stimulates a reflection and meditation to the listener. It is, in the end, demonstrated how silence isn’t absence.