Renaud Barbaras, La vie lacunaire [Thomas Vercruysse, p. 324] • Wolfram Hogrebe, Der implizite Mensch [Federica Ceranovi, p. 334] • Emmanuel Alloa, Das durchscheinende Bild [Maria Teresa Costa, p. 344] • Alexander R. Galloway, The Interface Effect [Angela Maiello, p. 346] • Francisco José Ramos, La significación del lenguaje poético [Michele Gardini, p. 348] • Alessandro Arbo, Entendre comme. Wittgenstein et l’esthétique musicale [Leonardo V. Distaso, p. 351.

Volumi e saggi Jay Schulkin, Reflections on the Musical Mind. An Evolutionary Perspective , [Michele Gardini, p. 202] • Hans Belting, Faces. Eine Geschichte des Gesichts [Pietro Conte, p. 205] • Aby Warburg, Il primo Rinascimento italiano. Sette conferenze inedite [Alice Barale, p. 207] • Laura Anna Macor , Reading Schiller: Ethics, Aesthetics and Religion [Lorenzo Leonardo Pizzichemi, p. 209] • Bernard Lafargue, Stéphanie Cardoso , Figures de l’art n° 25, Philosophie du design [Claire Azéma, Anne Beyaert Geslin, Stéphanie Cardoso, (...) Cécile Croce, p. 212] • Helmut Leder et al., What Makes an Art Expert? Emotion and Evaluation in Art Appreciation , “Cognition and Emotion”, 2013, 28, pp. 1-11; Enric Munar et al., Aesthetic Appreciation: Event-Related Field and Time-Frequency Analyses , “Frontiers in Human Neurosciences”, 2012, 5, pp. 1-11; Gerald C. Cupchik et al., Viewing Artworks: Contributions of Cognitive Control and Perceptual Facilitation to Aesthetic Experience , “Brain and Cognition”, 2009, 70, pp. 84-91 [Gianluca Consoli, p. 217]. (shrink)

Books Christy Mag Uidhir, Art andObjects [Elisa Caldarola, p. 182] • Julie Jaffee Nagel, Melodies of the Mind. Connections Between Psychoanalisis and Music [Michele Gardini, p. 185] • Dominic McIver Lopes, Beyond Art [Filippo Focosi, p. 187] • Annemarie Gethmann-Siefert, Herta Nagl-Docekal, Erzsébet Ròsza, Elisabeth Weisser-Lohmann, Hegels Ästhetik als Theorie der Moderne [Lorenzo Leonardo Pizzichemi, p. 190] Comments Toward an Integrated Science of Aesthetics. Getting Rid of the Main Misunderstandings in Evolutionary Aesthetics [Mariagrazia Portera, p. 194].

Nonostante la sua elusività, o forse proprio grazie ad essa, il termine “atmosfera” si è diffuso ampiamente nel linguaggio ordinario contemporaneo. Parliamo di “atmosfere” per descrivere un incontro tra persone, la situazione o il clima politico, l’aria di un certo ambiente architettonico, interno o esterno, ma anche l’aspetto caratteristico di un paesaggio, la tonalità emotiva associata a una marca in una pubblicità o evocata da una messa in scena teatrale o da un film. Atmosfere, clima, ari...

1 Segmentando In psicologia da tempo si parla dell’“effetto atmosfera” eventualmente creato da certi sillogismi, segnatamente da quelli che “sentiamo” come maggiormente persuasivi del tutto indipendentemente dalla loro validità logica. Da due premesse particolari e affermative (alcuni A sono B, alcuni B sono C), ad esempio, molti sono indotti, appunto in virtù di questo effetto “atmosferico”, a trarre un’affermazione altrettanto particolare e affermativa ancorché erronea (alcuni A sono C), la...

This paper aims to examine the very unstable concept of the “uncanny” from an atmospherological point of view. Its official theoretical “sanction” is due to Heidegger, who considered it the latent but fundamental ground of any being-in-the-world, and especially to Freud, who described it as the feeling that arises when something familiar suddenly becomes unfamiliar. Freud claimed to be inspired in this conception by Schelling's definition of unheimlich, which I try to explain to better understand what an uncanny atmosphere is. (...) It seems characterized by elements such as ontological ambiguity-vagueness and paranoid subjectification, alien corporeality and unpredictable situations. The paper ends with a brief analysis of the specific uncanny of houses, both in terms of their transformation from a secure interior to an uncanny place and in terms of the anxiety about materially inheriting a house and thus cohabiting with the past. In the perspective adopted here, the uncanny shows that we are not at home within our own body because we always coexist with an external-foreign and in this sense “monstrous” presence. (shrink)

The paper investigates the kind of collective feeling – or, better, atmosphere – that is generated by the situation of protracted emergency. After asking whether ours is in general an age marked by (media) emergency, what are the structural char-acteristics distinguishing short-term emergency from protracted emergency and to what extent we can speak of an effectively shared collective feeling of “emer-gency”, the analysis focuses on the atmospheric properties of this collective affec-tive situation and shows what are the possible resources to (...) escape from it (at least in part). Irreducible to the classic phenomenological intentionality, the at-mosphere of protracted emergency (whose case study here is that of the COVID 19 pandemic, which is also related to the “terror from the air” theorised by Sloterdijk) proves to be a chaotic situation that establishes with those who experi-ence it a very particular felt-bodily communication, based essentially on narrow-ness and hypochondria. It is an invisible atmosphere of which it is fairly easy to identify the markers on the phenomenal level, whereas it is largely impossible to anticipate the long-term (affective, social, cognitive) effects. (shrink)