Aesthetics

ABSTRACT Aesthetic autonomism is standardly defined as the view that the aesthetic value of an artwork in no way depends on its moral value, and hence that considerations about the latter are irrelevant to aesthetic evaluation. However, it has recently been argued that definitions along these lines involve certain flaws and that autonomism should be characterized instead as the view that it is rationally permissible not to adjust one’s initial aesthetic judgment about a work in light of how one evaluates (...) it morally. This paper argues that this proposal is seriously misguided in three central respects: its focus on evaluative adjustments is objectionably narrow and ignores other forms of evaluative conduct; its appeal to rationality misconstrues the core commitments of non-autonomists; and its permissivist character results in a distortion of what is at stake in the debate about the autonomy of the aesthetic. (shrink)

Taking my cue from the longest-standing theory of beauty to date, which identified beauty with formal properties such as order, harmony, and proportion, I argue that wellformedness—understood under a tripartite account comprising abstract, categorial, and functional species—is a necessary condition for beauty, which itself comprises three corresponding species. To this end, I offer a new conception of wellformedness along with a clear taxonomy of both beauty and wellformedness. My account reverses the common tendency to treat species of beauty that are (...) independent of considerations of objects’ functions or kinds as paradigmatic and others as derivative, construing instead all three species as interrelated. In doing so, my proposal sheds considerable light on the concept of beauty, provides a measure of objectivity in our understanding thereof, clarifies the conceptual terrain in the philosophy of beauty, and elucidates some central links between beauty, form, and our interests and values. (shrink)

We regularly talk about music as if it has moods or, at least, expresses moods. However, the relationship between psychological and musical moods remains mysterious. Music doesn’t have feelings, so how could it have moods? To make up for that, many philosophers have provided theories of expression that don’t rely on music actually possessing anything mood-like. In this paper, I argue that if we take seriously an account of psychological moods that includes patterns of attention as part of the mood (...) itself, we can explain how music can, in fact, have moods; namely, by having a structure that resembles the structure of a mood. I then explain how this not only solves the puzzle of how music expresses moods but also helps us explain how we interact with musical moods. (shrink)

Jacques Rancière, Dissensus: Politika ve Estetik Üzerine adlı kitabında uzlaşımı (consensus) şiar edinen post-demokratik devletin, bireyin toplumun bir parçası olarak tanımladığını belirterek politikanın Platon’un Devlet diyaloğunda sunduğu polis’e indirgendiğini öne sürmektedir. Çözüm olarak politikanın, birey (tikel) ile toplum (tümel) arasındaki uyuşmazlığın (dissensus) teşhir edilmesi olarak yeniden düşünülmesini öneren Rancière, Platon’un bir tür an-arşi olarak gördüğü demokrasinin politikayı olanaklı kılması sayesinde aslında ‘daha iyi bir yaşamı’ (eu zen) vaat ettiğini öne sürer. Böylece, post-demokraside öznelliği uzlaşıma dayanan bir söylemde karışan bireyin sesi, (...) politika aracılığı ile yeniden duyulabilir ki Rancière buna duyulurun dağılımı (distribution of sensible) adını verir. Bu makalede, filozofun politika düşüncesinde, polis ile politika kavramları arasındaki ayrım tartışılacak ve bu minvalde, kendisinin uyuşmazlık kavramı çözümlenecektir. Son olarak, Rancière’in siyaset ile estetik arasında aísthêsis (duyumsama) kavramı üzerinden kurduğu bağlantı, kendisinin ‘estetik sanat rejimi’ terimi ile demokrasi yorumu arasında kurulacak benzerlikler üzerinden açıklanacaktır. Sonuçta, post-demokratik bir devlette yalnızca birer tüketici olarak tanımlanan bireye Rancière’in düşüncesinin sağlayabileceği alternatiferden biri örneklenmiş olacaktır. (shrink)

The Human Agenda is the first Special Edition of The Cambridge Journal of Law, Politics, and Art (CJLPA), an interdisciplinary journal founded at the University of Cambridge. Focused on the unique intersections of law, politics and art in the context of human rights, contributors to the Special Edition include David Baragwanath, Luis Moreno Ocampo, Nadia Murad, Nancy Hollander, Andrew Clapham, Vladimir Osechkin, Mansour al-Omari, and many others. A full table of contents is available through the publication's own page.

Liberal-minded basic income scholars often argue that UBI has two key properties that work together to justify it. Let us call these the freedom justification and the narrative justification. On the one hand, UBI is defended because it gives people more freedom to do what they want to do. (Stigler, 1946, Friedman, 1962; Van Parijs, 1995; Widerquist, 2013) They exhibit primary concern for the purely formal properties of the regime of liberal neutrality. On the other hand, many scholars, including many (...) of the same liberal scholars, argue that UBI also pushes society substantively towards desirable social outcomes. They combine the freedom justification with substantive predictions and expectations. (Rifkin, 1995; Murray, 2016; Weeks, 2020) However, I show that both existentialist philosophy (Sartre) and complexity theory (Knight, Hayek, Schumpeter) suggest that a liberal social order is compatible, at best, with rough pattern prediction about a multiply realizable future that remains narratively open to multiple possible trajectories. Liberal neutrality, to the extent that it nourishes radical freedom, is incompatible with strong, stable narrative predictions. As Nozick put, it “liberty upsets patterns”. This is true of all liberal UBI models, and liberal institutions in general. (shrink)

Il presente volume ibrida in modo originale il libro d’arte e il libro d’artista. I testi, ispirati da alcune parole presentate in forma aggettivale e pertanto più poetica e connotativa, non costituiscono un commento alle immagini create da Laura Pitingaro, ma sono chiavi interpretative che esplorano la varietà ambientale da prospettive culturali eterogenee (filosofiche, scientifiche, artistiche). Queste stesse parole costituiscono al contempo l’elemento seminale da cui germoglia la creatività immaginifica dell’artista. Da questa coesistenza e varietà di forme interpretative ed espressive (...) deriva la natura biodiversa del libro che trasforma concetti astratti in esperienze sensoriali, visive e linguistiche. Pertanto, il libro nasce con il proposito sperimentale di creare un mosaico di parole e immagini per una più profonda comprensione della biodiversità in chiave multidisciplinare e transdisciplinare. Tuttavia, il suo scopo va al di là della mera divulgazione di informazioni. Tra- smettendo non solo la conoscenza razionale, ma soprattutto la consapevolezza sensibile (dal greco aisthesis = sensazione) della biodiversità, questo libro d’arte aspira a suscitare emozioni, trasportando il lettore in un viaggio sensoriale attraverso cui idee e concetti complessi sono veicolati in modo accessibile e coinvolgente. Dunque, perché un libro d’arte per riflettere sull’ambiente? Perché è un’opera bella e preziosa come il suo contenuto, la biodiversità. (shrink)

Il presente volume ibrida in modo originale il libro d’arte e il libro d’artista. I testi, ispirati da alcune parole presentate in forma aggettivale e pertanto più poetica e connotativa, non costituiscono un commento alle immagini create da Laura Pitingaro, ma sono chiavi interpretative che esplorano la varietà ambientale da prospettive culturali eterogenee (filosofiche, scientifiche, artistiche). Queste stesse parole costituiscono al contempo l’elemento seminale da cui germoglia la creatività immaginifica dell’artista. Da questa coesistenza e varietà di forme interpretative ed espressive (...) deriva la natura biodiversa del libro che trasforma concetti astratti in esperienze sensoriali, visive e linguistiche. Pertanto, il libro nasce con il proposito sperimentale di creare un mosaico di parole e immagini per una più profonda comprensione della biodiversità in chiave multidisciplinare e transdisciplinare. Tuttavia, il suo scopo va al di là della mera divulgazione di informazioni. Tra- smettendo non solo la conoscenza razionale, ma soprattutto la consapevolezza sensibile (dal greco aisthesis = sensazione) della biodiversità, questo libro d’arte aspira a suscitare emozioni, trasportando il lettore in un viaggio sensoriale attraverso cui idee e concetti complessi sono veicolati in modo accessibile e coinvolgente. Dunque, perché un libro d’arte per riflettere sull’ambiente? Perché è un’opera bella e preziosa come il suo contenuto, la biodiversità. (shrink)

Despite numerous publications on the philosophy of technology, little attention has been paid to the relationship between being and value in technology, two aspects which are usually treated separately. This volume addresses this issue by drawing connections between the ontology of technology on the one hand and technology’s ethical and aesthetic significance on the other. -/- The book first considers what technology is and what kind of entities it produces. Then it examines the moral implications of technology. Finally, it explores (...) the connections between technology and the arts. (shrink)

ABSTRACT This paper criticizes interpreters who appeal to structural homologies in making claims about the meaning of (classical instrumental) music. Such appeals are prevalent in Marxist and post-Marxist musical aesthetics, where structural correspondences between music and society are accorded great significance, and their prevalence can be traced to Adorno’s use of (what this paper calls) “semantically ambitious homologies,” which can be traced to Freud’s use of them. I lay out this genealogy and argue that homology-based musical semantics, as it has (...) been customarily practiced, is a nonstarter. (shrink)

ABSTRACT The introduction provides an overview of the topic of the special issue, which is the relationship between art and capitalism. It includes summaries of the articles included in the issue and indicates possible areas for future research.

ABSTRACT In his essay, “Of the Nature of That Imitation Which Takes Place in What Are Called the Imitative Arts,” Adam Smith discusses two examples, topiary and false jewels, apparently coming to opposed conclusions: that aesthetic value is, and that it is not, independent of market value. I unpack the reasoning behind these conclusions, arguing that Smith’s position is consistent: he recognizes that aesthetic value can be occluded by market prices—as when one dismisses the beauty of something cheap out of (...) snobbery—or heightened by them, as in the case of the aesthetic value of magnificence. Because aesthetic value can thus be heightened or corrupted by market value on Smith’s analysis, I suggest, speculatively, that for Smith the bad influence of economic considerations in aesthetic matters (faulty snobbery or an economically-derived corruption of taste) is identified by reference to moral, not purely aesthetic criteria. (shrink)

ABSTRACT Generative artificial intelligence is transforming the way we make, and think about, art. With prompting from human users, these generative systems now produce aesthetically compelling and seemingly creative works in a variety of artistic domains. In doing so, they challenge the ways we think about artistic credit, about creativity, and about the mechanism of legal copyright, which is meant to protect and promote creativity in a capitalist art market. All of this is currently at play in the courtroom, as (...) artists contest the ways in which their artworks can be rightfully fed into these artificial systems (“the problem of the inputs”), and other artists are challenged over whether they might be credited for the visual images these systems generate (“the problem of the outputs”). Here, we explore these problems as they arise in visual art. We argue that the contested legal landscape surrounding these artificial systems reflects the ways they challenge our received notions of artistic credit and creativity. And we suggest that clarifying or changing the application of copyright in light of their generative capacities will ultimately involve revising our conception of art. (shrink)

ABSTRACT Viewers of Jordan Peele’s 2019 Us are likely to approach the film expecting it to be about race. Undercutting current cultural orthodoxy about which marker of identity has priority, the story reveals itself instead to be about class, as doppelgängers emerge from underground to free themselves from the affluent originals allegorically oppressing them in a capitalist culture. In what Vera Tobin calls a “narrative rug-pull,” the revelation of the main character’s real identity invites viewers to reinterpret what they have (...) seen and to rethink what their loyalties were and should be. Us thereby performs a rug-pull of a specifically ideological variety, as, prior to the reveal, viewers only make the specific interpretive assumptions they do because of deeper ideological ones. Where Tobin writes against the notion that cognitive biases are necessarily bad, since they can be deployed for aesthetic pleasure, I argue further that they can be weaponized in narrative to artfully combat ideological bias. There is untapped potential for rug-pulling to be used in ideology critique, though I end with some pessimistic caveats about the possibility of doing so in a capitalist culture. (shrink)

A key contention of Nietzsche's philosophy is that art helps us affirm life. A common reading holds that it does so by paving over, concealing, or beautifying life's undesirable features. This interpretation is unsatisfactory for two main reasons: Nietzsche suggests that art should foreground what is ‘ugly’ about existence, and he sees thoroughgoing honesty about life's character as a requirement on genuine affirmation. The paper presents an alternative reading. According to this reading, artworks depicting something terrible give us a feeling (...) of fearlessness or courage by enabling an extraordinary state of affective distance from their content. The value of art lies in the fact that the aesthetic state resembles and invites us to pursue a psychic condition Nietzsche valorises. In making this case, the paper reveals a surprising continuity between an important strand in nineteenth-century aesthetic thought and contemporary distance theories of aesthetic engagement. It also casts new light on Nietzsche's famous criticisms of Kant's notion of disinterested aesthetic appreciation. (shrink)

ABSTRACT In this paper, I provide an interpretation of the American mockumentary-styled sitcom, The Office (2005–2013), as an instance of what Nietzsche calls an “aesthetic justification” of life. The Office offers an aesthetic justification of the life of lower-tiered North American white-collar workers under neoliberalism. The Office performs this function via an implicit endorsement of what Mark Fisher (2009) calls capitalist realism, or the idea that “it’s easier to imagine the end of the world than the end of capitalism.” I (...) focus on an illuminating scene in episode 16 of Season 3, “Business School” (2007), that exemplifies this especially well. The argument is that The Office orchestrates an aesthetic justification of those aspects of our existence that cannot be justified morally under capitalism, for example, precarity, ruthless competition, and so on. In Section I, I outline Nietzsche’s conception of aesthetic justification. In Section II, I discuss the major themes of The Office, highlighting their resonance with the concerns and experiences of the workforce. In Section III, I bring these together in a Nietzschean analysis of the “Business School” scene. Finally, in Section IV, I close by offering some open-ended but critical reflections on this analysis via Adorno and the Frankfurt School. (shrink)

The aim of this paper is to investigate the possibilities opened up by radical interventions in public space: is it possible to foster reflection and create a critical methodology for analysing the topic of Commons in the urban context? Presenting the project “Stente: Residual Zones” as an example, the aim is to explore these questions using Umeå as a case study. Through the creation of an art/architectural object, the project seeks to use artistic and architectural practices as tools to engage (...) city residents in an active dialogue about Common spaces. Starting with a theoretical framework for situating the critical potential of art and architectural objects in public spaces, in this paper the project is seen as an example of a temporary critical moving device, gathering and amplifying the voices of the inhabitants through the city: it aims to represent an open-ended invitation to reinterpret the boundaries between nature and the city, posing itself as a radical (from the latin radicalis) form of dissensus (Rancière 2010). The experiment was conducted at the Umeå School of Architecture between March and May 2024 as part of the “Designing the Contemporary City” research group at Umeå University. (shrink)

Most critical studies of consumerism denounce the deceptive images produced by commodities, but what happens when consumer goods are rejected as waste? Instead of considering garbage disposal as a merely technical and hygienic issue, this article investigates the “aesthetics of disappearance” of waste. The structural reasons for the invisibilization of waste and the political effects of its manifestation will be analyzed through Jacques Rancière’s notion of “distribution of the sensible.” The central thesis is that material consumer culture, based on a (...) continuous process of devaluing and replacing items, needs organizing the perceptual field to make waste disappear and thus create the illusion that, once discarded, an object vanishes. Therefore, making waste visible is interpreted as a rapture of the normative configuration of the sensible, disturbing habitual modes of experiencing and signifying reality. This hypothesis is investigated through a paradigmatic artistic work: Matta-Clark’s Garbage Wall (1970). The American artist exposes waste in the public space to challenge the established distribution of spaces and functions in the urban context, displaying waste’s stubborn resistance to the imperative to disappear. (shrink)

In this article, I offer the notion of “skeptimentality” as a framework for thinking about the strikingly transmuted character of the noble moral sentiments (sympathy, empathy, benevolence, compassion, care, and pity) in the privilege-sensitive public culture of contemporary Scandinavia. Skeptimentality is my term for the sense that there is something morally embarrassing about the moral sentiments. I bring into play insights from feminist studies of sentimental sympathy as mediating factor in gender, race, and class-relations in order to highlight the extent (...) to which skeptimentality differs from sentimentality and the aesthetic of sympathy we associate with it. The latter part of the essay develops further the notion of skeptimentality through an analysis of Swedish director Ruben Östlund’s award-winning feature film The Square (2017). As an aesthetic mode, skeptimentality has its own tropes, which often take an explicitly critical position on sentimental ones; it is, I submit, an aesthetic not of sympathy, but of complicity. (shrink)

Emmanuel Levinas is widely known for his polemical stance towards art. Especially in his earlier writings in the 1940s, he famously calls into question its ethical potential. In this article, I analyse some of Levinas’s early writings in order to answer the following questions: How does Levinas understand the nature of art, and how does this understanding allow him to criticise it, often in harsh terms? I turn to Hans-Georg Gadamer’s concept of aesthetic consciousness, which I argue shares similarities with (...) Levinas’s stance on art. I argue that re evaluating Levinas’s stance allows one to tackle topical issues of aesthetics from the viewpoint of his ethical philosophy. Through showing how Levinas’s aesthetic consciousness hinges on a problematic relationship between conceptual truth and art, and through emphasising the role of criticism, I suggest that Levinas’s thought can be utilised in approaching contemporary questions of the autonomy of art and aesthetics. (shrink)

The term “view from above” does not merely describe an aerial perspective using digital technologies. According to Macarena Gómez-Barris, it is an extractive and neoliberal tool for transforming territories into areas to be exploited. In contrast, she introduces “submerged perspectives,” which can always be found in these territories and are characterized by relations on the ground. An argument based on opposites should always make one suspicious, especially when considering contemporary artistic practices. This article demonstrates that contemporary works of art can (...) unleash the critical potential of the view from above. Two works, one by Carolina Caycedo and the other by Forensic Architecture, are analyzed to demonstrate a substantial expansion of the view from above. Contemporary art has the capability to counter-appropriate a supposedly hegemonic instrument and, thus, offers the possibility of rejecting constructed and abstract dichotomies. (shrink)

This article is articulated in three voices of scholars who have worked on questions of war, visual culture, and contemporary political aesthetics that also relates to art and film practices. Media theorist Jussi Parikka, literary scholar Anders Engberg-Pedersen, and visual culture researcher Daniela Agostinho address the relations between images, aesthetics and operations through the lens of two books published concomitantly, Parikka’s Operational Images: From the Visual to the Invisual and Engberg-Pedersen’s Martial Aesthetics: How War Became an Art Form. Both books (...) expand the scope of what Czechoslovakian-born filmmaker Harun Farocki termed “operational images” in his experimental documentaries and theoretical writings from the early 2000s. Through his analyses of the politics of imagery in the military-industrial context, Farocki notably defined “operational images” as images that do not depict or represent but rather perform tasks such as tracking, surveilling, detecting, and targeting. For both Parikka and Engberg-Pedersen, Farocki’s central concept of operational images forms a point of departure for writing media archaeologies of the present. In a three-voiced dialogue, the authors unfold operations as a “machine of articulation,” a conceptual and analytical device that reveals surprising linkages and frictions across different themes, techniques, scales, and historical periods. (shrink)

What kind of reading and viewing space is created within contemporary platforms? While existing research has explored the impact of surveillance, this article moves on to theoretically discuss the intersection of technosocial reading. It examines how algorithmic interpellation and profiling function as enunciative strategies, and how this is explored from a transgender perspective. The article raises theoretical questions about the flattening of enunciation and its implications for a critical reading and observation space. To further explore these concepts, it analyses Ada (...) Ada Ada’s year-long in transitu Instagram performance. Through this analysis, the challenges posed by fixed, binary gender categorisations prevalent on platforms like Instagram are unpacked. Ada Ada Ada’s performance serves as an imminent criticism of the enunciative, representational and gender policies of platforms, demonstrating their arbitrary and absurd nature. Ultimately, in transitu invites platform users to reconsider their roles as technosocial readers and observers. (shrink)

The Japanese avant-garde dance form butoh, founded by Hijikata Tatsumi in the late 1950s, is known for its marked physicality. The choreographic methodology of butoh, however, is not focused primarily on instructing the dancers how to move their bodies. Instead, the dancers work with verbal and mental imagery to transform into butoh-tai, the “butoh body,” a special form of embodiment from which the dance is thought to unfold as its external manifestation. I propose that this is an aesthetic process that (...) can be explained by a combination of theories from empirical and philosophical aesthetics, about empathy, embodied simulation, and the body schema. These theories, which hypothesize an inner, neural body at work in the aesthetic experience, shed light both on the crucial role of imagination in butoh, and on a potential for transformation inherent in the aesthetic experience per se. (shrink)

Even today there persist perceptions of the thought of António Sérgio (1883 – 1969) that confine this prominent philosopher, journalist, sociologist and essayist within rather narrow bounds of strictly classicist framing − in other words, immune to the influences of ‘sensibility’. The present study, however, endeavours to suggest that this is no more than a limited glimpse, a glimpse that in fact ignores the intricacy of a Sérgian manner of perceiving. What one confronts here is a cultural myth that calls (...) for being deconstructed in order to demonstrate the substance of Sérgio’s humanist discourse. The study leverages, to this effect, both the philosophy of Jean- Jacques Rousseau (1712 – 1778) and the novel "A Cidade e as Serras" by Eça de Queiroz (1845 –1900). (shrink)

Zeami Motokiyo 世阿弥 元清 (1363–1443) gilt als Schöpfer des klassischen Nō-Theaters und war nicht nur ein herausragender Darsteller, sondern auch Autor vieler Stücke, die noch heute aufgeführt werden. Neben diesen Stücken hat Zeami aber auch theoretische Traktate zur Übungspraxis des Nō-Theaters verfasst, die über viele Jahrhunderte hinweg geheim überliefert wurden und als Anweisungen für seine Nachfolger gedacht waren. In diesen Traktaten reflektiert Zeami auf seine Kunst und stellt sie als einen Übungsweg nach buddhistischem Vorbild dar, als eine ästhetische, aber auch (...) spirituelle Praxis, einen Lebensweg (道 dō, michi), der auf die Verkörperung grundlegender Prinzipien abzielt. Im Folgenden möchte ich vor allem anhand dieser theoretischen Schriften nachvollziehen, welche Rolle der Ausdruck „von-selbst-so“ (自然 jinen, chin. zìrán) bzw. „von selbst“ (onozukara), der heutzutage als Übersetzung für den europäischen Natur-Begriff verwendet wird, in Zeamis Konzeption der leiblichen Übungspraxis spielt und dies mit Stellen aus anderen Schriften vergleichen. Zunächst werde ich aber in knapper Weise zurückverfolgen, was leibliche Praxis vor dem Hintergrund des Daoismus und des Zen-Buddhismus im Kontext der japanischen Übungswege bzw. Wegkünste bedeutet. (shrink)

L’Autre, avant d’être un corps présent dans le temps, est d’abord un relief dans le paysage d’un monde commun, une forme perspective que le "je" choisit ou non de recevoir. Ce relief, s’il a longtemps été pensé depuis une autorité déterminant la place à laquelle et depuis laquelle l’Autre devait répondre, deviendra, on l’espère, l’espace possible d’une rencontre. Lorsque ce relief se présente au monde, lorsque l’Autre devient simultanément cette chose voyante et visible, son espace d’expression s’ouvre pour devenir un (...) entourage, une enveloppe mobile et pénétrable. (shrink)

Les écrans imprègnent la quasi totalité de nos modes de vivre ensemble. Comme autant d'aimants ils produisent une adhérence senso- rielle dont il devient difficile de se détacher. -/- Il apparait que la marche des sociétés humaines s'effectue désormais se- lon le mode unique de la computation numérique. -/- Cherchons le contre- courant de ce que nous imposent les interfaces.

The goal of this essay is thus to identify the species of music that is most justifiably denominated sublime and to characterize it as fully as possible, in part through a suggested taxonomy of the species, illustrated by a wide range of musical examples. After a general discussion of sublimity in its original sphere of application—the natural world—I go on to consider the nature of sublime musical experience. I propose that categorizing music as some species of sublime is at base (...) a matter of what it is most like or most resembles among natural phenomena. This results in a scheme which recognizes five distinguishable kinds of sublime music: negatively transcendent, positively transcendent, mixedly transcendent, energizing, and transcendent-energizing. I distinguish sublime music from other valuable music kinds and finish by pointing to some rewards that come with the experience of sublime music. (shrink)

With the concept of the technical image, Flusser indicates a historical shift in the structure of Western society.1 Technical images, as found in photographs, films, videos, computer terminals, and television screens, designate images produced by an apparatus designed to create programmed information. Contrary to traditional images which carry significance through representation as seen in paintings, technical images are surfaces that operate according to “inverted vectors of meaning.”2 The meaning of a technical image is not found in what the image signifies (...) but in what it projects. In other words, technical images are less about the representation of the world and more about modeling the subject’s relation to and vision of reality. As such, technical images are “instructional programs” designed to inculcate significance, shape behavior, and direct subjects on how to make sense of the world.3 The surfaces of technical images move away from a mimetic representation of the real to inscribe concepts as connotative, as opposed to denotative, forms of signification. However, traditional images and technical images are not entirely disconnected from one another. Together they shape the posthistorical phase of humanity, a phase in which humans’ relationship to reality is increasingly conditioned and modulated by embedded codification. This codification is produced by apparatuses that calculate probability. These apparatuses are opaque because they no longer require the knowledge of their operation by the subject that handles them. In other words: traditional images are “observations of objects,” while technical images are “computation of concepts.”4. (shrink)

L’esercizio teoretico dell’ontologia si occupa di individuare che cosa esiste per presentare un inventario del mondo che dovrebbe abbracciare l’interezza dell’essere nella pluralità delle sue declinazioni fattuali, permettendo così la sistematizzazione delle categorie del pensiero e quindi la strutturazione delle facoltà di giudizio. Tanto nel dibattito classico, quanto in quello contemporaneo, riscontriamo la contrapposizione tra tesi che riconoscono dignità ontologica a vari ordini di strut...

Dominating the title and subtitle of this book are acts. Considering its subject, what becomes clear is why the specific verb (in-statuere or instituere) and gerund (building) were used: both designate acting. Yet, not any kind of acting in this case, but institutional acting. Books such as this are not only part of social reality, but illuminate its foundations, different dimensions, protocols, and possibilities, impacting that very reality. In that sense, as human creations, they are no mer...

There is a passage from Hegel’s Lectures on Aesthetics in which he speaks of the duplicity of the word “sense”. This duplicity is truly remarkable because it indicates, at the same time, the corporeal immediacy of something and the meaning, the abstract, the universal of the thing. In what follows, I will first examine the purely linguistic layer of doubling; then, moving from words to things, I will focus on the fact that the doubling between the sensible and the intelligible (...) is not just a matter of words. From here I will directly address the question of human nature as second nature, examining three doublings: the speculative one, of which Hegel speaks, when he sees in the death of what is merely natural the birth of the spirit; the physiological one, of which Freud speaks to us with a hypothesis reaffirmed by contemporary science, which sees a single origin in both the seat of sensibility, the skin, and in that of thought, the cerebral cortex; and the anthropological one, according to which the human mind, as part of an organism that is systematically connected with mechanisms, presents itself as, at the same time, embodied (it is part of a body) and equipped (it is endowed with supplements). I will conclude my examination by describing a circle, one that forms in the relationship of reciprocal conditioning between nature and second nature, as well as between organism and mechanism. (shrink)

There has been much discussion of the indispensability argument for the existence of mathematical objects. However, there has been little discussion of the relationship between Meinongianism and the indispensability argument. According to strong Meinongianism: i) some objects do not exist; ii) we can refer to and quantify over nonexistent objects to make true statements about them; and iii) nonexistent objects are the truthmakers of sentences which contain reference to or/and quantification over nonexistent objects. In this paper, against the mainstream Quinean (...) meta-ontology, I argue that there are nonexistent mathematical objects as truthmakers and that nonexistent mathematical objects make a difference for the way the concrete world is. (shrink)

This paper analyzes the role of the architectural concept in the creation and life of the city. Aiming to identify the urban qualities in the concept, I introduce the distinction between the first and the second object of architecture, where the former represents the architectural concept, which then materializes its authenticity in the latter, that is, architecture’s real state. Within this temporal order of architectural creation, the paper focuses on the transition from the first object to the second, in which (...) the (urban) reality is assumed to be altered by producing the architectural concept. In explaining such alteration, I employ the dialectics between concept and context. My main hypothesis is that to define the architectural concept necessarily implies the definition of its context, that is, the representation of its real exteriority. At the urban level, the inevitable particularity of architecture becomes an aesthetic quality, thanks to which the impossible task of de-fining the city is overcome and made irrelevant for reaching the state of (urban) conjunction. With every architectural concept being realized, the urban reality becomes altered, or multiplied. The urban contextualization, in this sense, implies not simple summation, but rather conjunction of at least two different concepts, whose difference, however, originates from the act of fundamental disjunction. To explain this paradox, I employ Hegel’s notion of aufheben, aiming to reconcile the radical architectural opposition between the conceptual and the contextual, in favor of the idea of the multiplicity of realized concepts – that is, second objects of architecture. What in architecture appears as an opposition of concept and context, serves on the urban level to overcome the problem of (contextual) finitude of the city, and then produce a new, positive difference within it. (shrink)

The study, conducted in March 2022, involved the analysis of the content in several social media chats and groups; the participants of those chats live in the same place and therefore have a common experience of the space. The study was based on the hypothesis of a direct connection between the mental map (a system of individual ideas about space), the cultural reputation of topoi, and urban trauma, embodied in the unease infrastructure. The problem of assessing the significance of a (...) place was solved by means of folklore toponymies – the mechanism of renaming, which indicates the degree of awareness about a specific place and defines its location on the mental map as well as ascribes a certain status to it. These statuses demonstrate the degree of significance of a place for a certain subject and form a kind of hierarchy, a system of topographical preferences. Thanks to online communication, people can not only transmit information much faster than the traditional forms of folklore dissemination allow, but also broadcast personal attitudes, conveying them as a bundle of meanings (for example, while inventing new toponyms). Therefore, one of the objectives of the study was to identify established folklore toponyms in online communication: they serve as markers of attitudes, reputation, and significance; we also try to catalogue attempts to “rename” different places. Another task was to find the symptoms of such anxiety in online communication. (shrink)

This paper aims to frame a discussion on the philosophy of the city within the context of cognitive sciences. In the first part of the paper, we will outline the double shift from a linguistic and ocularcentric account towards a sensorimotor one; then we will defend the idea that the less you refer to language and ocularcentrism in handling the urban dimension, the better phenomena can be understood and described. More generally, we argue that the most intriguing conceptual contaminations between (...) cognitive sciences and urban philosophies, as well as the best approach in designing and planning cities, have become attainable because of the marginalisation of language-inspired models of cognition and ocular imperialism in favour of other aspects of our phenomenal consciousness, like emotions, habits, and sensorimotor attitudes. (shrink)