Computers have become omnipresent in recent decades, affecting all aspects of modern life and influencing creative pursuits in art, architecture, music, and film. One consequence of this seemingly irreversible trend is its effect on the perception of the aesthetic object, and indeed of nature itself. Dawn of a New Feeling acknowledges that computers have become a formidable tool for creating new and entertaining art forms, while contending that virtual reality is not conducive to meditations on the aesthetic object. Virtual or (...) augmented reality, Raffaele Milani argues, is illusory and blunts the viewer’s capacity for feeling a genuine connection with a work of art. First describing how modernity and post-modernity are entangled with virtual reality, engendering linguistic and anthropological confusion in which art seems to have lost its meaning, Milani then contrasts these developments with classical art forms and reflects on the ways in which traditional art objects stimulate an appreciation of nature, which, upon contemplation, appears as an aesthetic object itself. The saturation of our culture by mass media, he argues, can give rise to a renewed desire to experience a more intimate communication with nature. By identifying reading, contemplation, and care for nature as activities that help us to escape the mental atrophy of a web-dominated world and find refuge from the chaos of virtual mediation, Dawn of a New Feeling offers a reinterpretation of contemplative approaches to appreciating aesthetics and to understanding the profound nature of artistic vision. (shrink)

La città, risultato della storia, della cultura e della civiltà, si presenta a noi, a un primo impatto, come un’esaltazione dell’edificare in un gioco delle forme e dei volumi, o come una glorificazione dell’architettura; in un secondo momento viene percepita anche come un segno delle comunità e dell’appartenenza di cui le forme sono il riflesso. Si profila, a ben ragionare sul suo significato, dall’antichità alla modernità, un composito fare umano, il disegno straordinario dell’azione collettiva e dei singoli, l’effetto di un’arte (...) dello spazio esteso. Esso interagisce con ciò che si chiama l’arte del paesaggio, perché propone elementi della cura, dell’immaginazione e della progettazione, i segni della fantasia e le creazioni della necessità. Allo stesso modo di un’attività dove l’uomo è creatore di coltivazioni, si può dire infatti che esista un’arte della città come prodotto delle comunità e dei singoli, degli architetti e degli artisti, dei progettisti e dei semplici lavoratori, dei cittadini e dei loro rappresentanti politici: risultato di uno sforzo ideale e civile, ma anche di un concreto, sfaccettato manifestarsi delle tecniche nello spazio, modellato anche, volta a volta, da quel certo gruppo sociale o dalle ideologie. (shrink)

In The Aesthetics of Grace: Philosophy, Art, and Nature, Raffaele Milani traces the fascinating history of the idea of 'grace' from ancient times to the 1700s. Although this term has been displaced by other concepts with the advent of modernism and postmodernism, the complex ideas related to the notion of 'grace' remain an important aesthetic category, and Milani presents an impressive panorama of reflections on and interpretations of the subject. The subtitle of the work indicates the broad scope of a (...) study that recounts the origins of the term in Latin gratias (favor, regard, or gift), corresponding to the Greek Kharites (givers of beauty and charm). The volume then goes on to examine the Middle Ages, when the concept acquires a more specifically religious meaning (divine mercy, thanks), the Renaissance, when the terms 'gracefulness' and 'elegance' come to dominate in the treatises of the time, and the Ages of Romanticism and Neoclassicism, with their particular treatment of the topic. In the process, Milani meditates on the visual representations of these multiple meanings in the form of second-century frescoes, fifteenth-century paintings by Botticelli, Raphael, Titian, Da Vinci, Mantegna, Correggio, and Carracci, seventeenth-century canvases by Poussin and sculptures by Bernini, and eighteenth-century sculptures by Antonio Canova and paintings by Fragonard. This engaging work weaves with skill and subtlety philosophical, theological, and artistic ideas into a stimulating tapestry. (shrink)

In the face of the most recent developments in digital and visual art, the Internet, the latest frontiers and currents, the new languages and technologies, Souriau’s schema does not work, but his reflections on the aesthetic notions of instauration and skeuopoetics do, and they pertain both to classical painting and to future perspectives. In fact, we note strong connections with research that the philosopher had had conducted on feelings, relations, forms, and processes, in terms of synaesthesia and structural correspondences. On (...) the basis of his thinking, we can still argue the importance of these concepts and these relations as they relate to physical and phenomenal existence, to materiality and transcendence: a conceptual and imaginative universal that is considered to be eternal. Art is seen as the producer of things capable of performing actions that are purely physical. He makes this claim because these actions expressly and intentionally create things whose existence is their sole purpose. (shrink)