Suchergebnisse

La società odierna è caratterizzata dall'eccesso, dall'esasperata ricerca di bellezza sia psico-fisica (dalla ginnastica allo yoga, dalla moda alla cosmetica, dalla chirurgia estetica all'ingegneria genetica) sia materiale (dagli abiti agli accessori, dal telefonino all'automobile). Di fronte a questa realtà in cui l'apparenza, il piacere e il divertimento sono divenuti, in ogni campo, gli obiettivi dominanti l'estetica deve sforzarsi di superare i confini "canonici" di un'astratta speculazione accademica al fine di orientare in senso pragmatico la sfera d'indagine. Diviene, quindi, sempre più urgente individuare nuove categorie e adottare più adeguati modelli epistemologici. Da qui l'ipotesi di riconfigurare l'estetica ("iperestetica") in senso transdisciplinare e transartistico. Lo scopo è quello comprendere la complessità dell'esperienza attraverso il dialogo con altri saperi (ecologia, biologia, sociologia, psicologia, antropologia, gastronomia), ma anche di avviare un'indagine più ricca ed esaustiva sull'arte, le cui forme non sono più (o non solamente) identificabili con l'oggetto artistico, bensì sono da rintracciare tra le pratiche della vita quotidiana. Con questo obiettivo si giustifica la scelta, forse restrittiva ma non arbitraria, di privilegiare, come chiavi di lettura per questo lavoro, le teorie di due filosofi: il pragmatista americano Richard Shusterman e il neofenomenologo tedesco Gernot Böhme, poiché entrambi rivalutano, attraverso un esplicito richiamo a Baumgarten, il valore della conoscenza sensibile. Shusterman vuole riconsiderare, in chiave filosofica, alcune pratiche corporee (cosmetica, chirurgia estetica, ginnastica, yoga ecc.) e riconoscere il valore estetico della cultura popolare. Böhme, attraverso la nuova categoria di "atmosfera", vuole offrire strumenti interpretativi e critici con cui operare consapevolmente in molti settori del "lavoro estetico": dal design al packaging, dalla scenografia all'architettura d'interni, dalla moda alla cosmetica, dalla comunicazione alla pubblicità. Secondo questa duplice chiave interpretativa vari ambiti della vita quotidiana (dalla natura al design, dal marketing alla politica) saranno sondati al fine di riconsiderarli alla luce di una nuova estetica pragmatica. ; Contemporary society is characterized by excess, by the exasperated search for beauty, in both psycho-physical (e.g., from athletics to yoga, from fashion to cosmetics, from cosmetic surgery to genetic engineering) and material terms (from clothes to accessories, from mobile phones to automobiles). Confronting a reality where appearance, pleasure, and fun have become dominant concerns, the study of aesthetics has to move beyond the "canonical" confines of abstract academic inquiry in order to orient its research sphere in a pragmatic direction. There is an increasingly urgent need to identify new categories and to articulate more appropriate epistemological models. Addressing these concerns in the present volume, Elisabetta Di Stefano aims to reconfigure aesthetics in transdisciplinary and transartistic (i.e., "hyperaesthetic") terms. The goal is to understand the complexity of experience by establishing a dialogue with other disciplines (e.g., ecology, biology, sociology, psychology, anthropology, gastronomy) and also to initiate a richer and more comprehensive analysis of art, whose forms are no longer (or not solely) to be found in the artistic object, but also in the practices of everyday life. This goal explains the decision (which may be restrictive, but it is not arbitrary) to adopt as privileged interpretive frameworks the theories of two philosophers, the American pragmatist Richard Shusterman and the German neophenomenologist Gernot Böhme, because both reevaluate the significance of sensible knowledge through explicit references to Baumgarten. Shusterman aims to rethink in philosophic terms some bodily practices (e.g., cosmetics, cosmetic surgery, athletics, yoga) and to account for the aesthetic value of popular culture. Böhme articulates the new category of "atmosphere" in order to offer interpretive and critical tools with which to intervene consciously in many fields of "aesthetic work:" from design to packaging, from scenography to interior architecture, from fashion to cosmetics, from communications to advertising. Adopting this dual interpretive framework, the author examines various aspects of everyday life (from nature to design, from marketing to politics), in order to reconceptualize them in light of a new pragmatist aesthetics.

This paper examines the common imagery of the inscriptions found on thewalls of some Latin American and European cities. We aim to understand the graffiti andother mural artistic manifestations as an insurgence of the words. In order to reflectcritically on these manifestations, we examine how the visual language of graffiti relatesto visual art and literature. To this end, we follow Aby Warburg's Atlas Mnemosynemethod to address narrative representations as contemporary generational trends.With the help of the theoretical approach of Walter Benjamin's studies of art and politics,we intend to reflect on the aestheticization of revolt through the appropriation of publicspaces. The central point of the paper is to think about walls as places for experimentingwith marginal forms of co-creation that question the strategies of visibility of the urbansemiological regime. As a conclusion, we interrogate the aesthetics of the revolt usingthe notions of territory and contemporary culture. The walls have not only become aspace for political struggle, but also supports for creative urban practices where artmeets the everyday life. ; This paper examines the common imagery of the inscriptions found on thewalls of some Latin American and European cities. We aim to understand the graffiti andother mural artistic manifestations as an insurgence of the words. In order to reflectcritically on these manifestations, we examine how the visual language of graffiti relatesto visual art and literature. To this end, we follow Aby Warburg's Atlas Mnemosynemethod to address narrative representations as contemporary generational trends.With the help of the theoretical approach of Walter Benjamin's studies of art and politics,we intend to reflect on the aestheticization of revolt through the appropriation of publicspaces. The central point of the paper is to think about walls as places for experimentingwith marginal forms of co-creation that question the strategies of visibility of the urbansemiological regime. As a conclusion, we interrogate the aesthetics of the revolt usingthe notions of territory and contemporary culture. The walls have not only become aspace for political struggle, but also supports for creative urban practices where artmeets the everyday life.