The present article aims at analyzing the social and ontological effects of listening music online, with particular attention to the artistic practice of improvisation. In the first paragraph, I will briefly explain the essential concepts which ontology of music has traditionally counted on, and I will suggest an alternative theoretical approach, that I define as ontology of musical act. Then I will investigate the relation between recording practices and improvisation. In the final paragraph I will compare some features of musical (...) recordings with those of technological devices that allow us to listen music online. (shrink)

To overcome the art-craft dualism, a root and branch reform of a traditionally hegemonic view on human activities is needed. By focusing on Gilbert Simondon’s fundamental claims, the article aims to display the most important consequences of a more in-depth understanding of poiesis, especially in relation to its reintegration with the sphere of praxis and collective ethos and to its connections with the idea of creativity. The field of production will lastly be associated with the concept of “living practice”, regarded (...) as important for the definition of a contemporary poietics. (shrink)

Reflections upon artistic activities as technique require an exhaustive examination in aesthetics. This paper provides an attempt to sketch out a possible connection between skills related to making art and aesthetic thinking. By means of phenomenological insight, the function of technique is pursued consistently with the considerations of technique as subordinate to a global performative skill or as its development into a general principle. This framework ends in accounting for the notion of craft and its relationship with art. Further, craft (...) encompasses the scope of technique in all its manifestations, since the boundaries of art are broadened to reach the most comprehensive outlook of human activities. While in Formaggio this task is accomplished through the idea of artistry, Pareyson expounds the features of an art theory within the unitary notion of formativity. Finally, the function of technique accounts for an ethical implication of human doing. (shrink)

_Formatividad_ es el concepto clave de la estética de Luigi Pareyson, pero también de su hermenéutica filosófica. El artículo no se propone ilustrar la teoría estética de Pareyson sino: analizar en qué consiste esa formatividad intrínseca a toda actividad humana ; aclarar porqué la formatividad nos obliga a concebir el conocimiento como interpretación y, por tanto, a legitimar la hermenéutica ; señalar algunas implicaciones de tal hermenéutica susceptibles de importantes y fecundos desarrollos.

Neo-Kantianism emerged over the course of the 1860s and it occupied a leading position in the German universities from the 1870s until the First World War. Demands for getting "back to Kant" had become common since the early 1860s, and these demands were discussed in the meetings of the Philosophical Society of Berlin (Philosophische Gesellschaft zu Berlin; PGB), which was the international organization of Hegelians. In this paper I address some reactions among the PGB members to the 1860s Kant revival. (...) The journal "Der Gedanke", the organ of the PGB, reported closely how Kant returned to the spotlight of German philosophy. The reactions of the PGB members to the Kant revival was not only critical. Over the course of the 1860s the interest on Kant among the members grew little by little. (shrink)

O artigo visa mostrar como o gesto filosófico reinholdiano de construção de uma filosofia elementar e o fichteano de fundamentar toda filosofia como ciência rigorosa em uma intuição intelectual alcançada através de um postulado, mais do que uma traição da impostação fundamental da crítica da razão kantiana, refletem uma tentativa de aprofundar elementos implícitos nela, sobretudo no que diz respeito à sua dimensão metodológica. Isto permite estabelecer uma continuidade entre o criticismo de Kant e o chamado de idealismo alemão que (...) ultrapassa toda concepção baseada sobre uma apropriação indevida ou uma assimilação seletiva do criticismo por parte deste último, e pode ser entendida como presentificação. (shrink)

In this paper we offer an interpretation of the inner relationship between nihilism and the tragic. With reference to the work of Heinz von Foester and to the sciences of complexity, we will argue that the essential feature of the tragic is “autoreferentiality”. Furthermore, arguing in favor of the use of the theological notion of kenōsis as the most precise description of the “history of nihilism”, we will show that the latter is to be understood in terms of the “weakening”, (...) or lowering of all the reference points generated by autotranscendent, etheronomous, social phenomena. The consequence of nihilism is therefore autoreferentiality. This result will offer the opportunity to see both to what extent we are now, at the end of modernity, living a tragic situation and, eventually, to claim – by recalling that autoreferentiality is also the inner logic of freedom – that the tragic is the outcome of modernity, but not a necessary one. (shrink)