In the age of Anthropocene, can aesthetics propose a not prevaricating behavioural model towards nature, leading to a new conception of humanity based on our being moved by nature? In this article, we will try to answer this question, exploring how some exponents of contemporary Environmental Aesthetics have examined the significance of human emotional responses to nature. Starting from the assumption that Kant defines the sublime as a motion of the soul, we wonder how aesthetics can reinterpret this concept to (...) affirm not human superiority over nature but his being part of it. To do so, we will turn our attention not only to some exponents of Environmental Aesthetics but also to Schopenhauer's concept of the sublime and the thought of Arne Næss, the father of the Deep Ecology movement. (shrink)

What is the relationship between thinking and seeing a form? In his morphological writings Goethe answers this question by saying that seeing is not pure passivity, but a thoughtful look because it invokes the mobility and plasticity of our thinking. For this reason this kind of aesthetic gaze is useful to understand the world of life, equally mobile and plastic. In this article, I will try to find out whether Goethe’s considerations about aesthetic idea and plasticity can find a new-look (...) in the reflections of Catherine Malabou, one of the most influential thinkers in contemporary French debate, in whose works the concept of plastic form is central. (shrink)

This article wants to investigate the logic of mimicry and their communicative function in animal life adopting an aesthetical perspective. The relationship between appearance and not-appearance, between the act of making itself visible and the act of disguising itself, is investigated starting from the morphological thought of the Swiss biologist Adolf Portmann, in a continuous dialogue with great thinkers of past and actual time – Johann Wolfgang Goethe, Hannah Arendt and Roger Caillois – and with the artistic illustrations of the (...) American painter Abbott Thayer, concerned with the laws of color camouflage. This productive relationship among biology, aesthetics and artistic practice allows us to show that the sphere of the skin, far from being "superficial" and meaningless, is the privileged point of view for a true semiotics of the visible. (shrink)

The concept of cell, more than any other biological concept, has been modelled on three powerful metaphors: in a morphological perspective, the cell has been defined Baustein, the brick or elementary unit of the body; from the physiological point of view, it has been associated to a chemical laboratory and finally, in a systemic view, it has been compared to the citizen of the cellular state. The pathologist Rudolf Virchow and the zoologist Ernst Haeckel showed the philosophical and aesthetic potential (...) of the latter metaphor, opening two different perspectives on a crucial problem in the science of living: the problem of the definition of biological individual. (shrink)