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Alessandro Bertinetto [59]Alessandro Giovanni Bertinetto [1]
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Alessandro Bertinetto
University of Turin
  1.  57
    We Make Up the Rules as We Go Along: Improvisation as an Essential Aspect of Human Practices?Georg W. Bertram & Alessandro Bertinetto - 2020 - Open Philosophy 3 (1):202-221.
    The article presents the conceptual groundwork for an understanding of the essentially improvisational dimension of human rationality. It aims to clarify how we should think about important concepts pertinent to central aspects of human practices, namely, the concepts of improvisation, normativity, habit, and freedom. In order to understand the sense in which human practices are essentially improvisational, it is first necessary to criticize misconceptions about improvisation as lack of preparation and creatio ex nihilo. Second, it is necessary to solve the (...)
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  2. Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology.Alessandro Bertinetto - 2012 - Teorema: International Journal of Philosophy 31 (3):105-126.
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...)
     
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  3.  9
    Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice, edited by Susanne Ravn, Simon Høffding, and James McGuirk.Alessandro Bertinetto - forthcoming - Estetika: The European Journal of Aesthetics 59 (2):165-171.
    A book review of Susanne Ravn, Simon Høffding, and James McGuirk, eds., _Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice_. London: Routledge, 2021, vii + 218 pp. ISBN 9780367540210.
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  4.  11
    ‘Mind the Gap’. L'improvvisazione come azione intenzionale.Alessandro Bertinetto - 2015 - Itinera 10.
    In this paper I aim at discussing the following questions: is improvisation an intentional action? If it is an intentional action, in what sense is improvisation intentional? Can improvisation contribute to the understanding of intentional action? I will argue that improvisation is not a bizarre case of action or a weakened action, but an intentional action in the proper sense. Moreover, improvisation exemplifies key features of intentional action as such.
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  5. L'emergentismo nell'arte.Alessandro Bertinetto - unknown
    Following suggestions by Joseph Margolis and Richard K. Sawyer, in this paper I apply the notion of emergence to the philosophy of art. I will argue that the interpretation of works of art cannot be reduced either to the perceptive experience of the manifest qualities of the art object, nor to the identification of the author’s intentions, nor to the understanding of the practices of the historic context of production. I suggest, instead, that the identity of a work of art (...)
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  6.  2
    Nichts, Negation, Nihilismus.Alessandro Bertinetto & Christoph Binkelmann (eds.) - 2010 - New York: Peter Lang.
    Seit den Anfängen der Philosophie in der Antike bis heute währt das Fragen um das Nichts. Dabei steht es in unterschiedlichen Kontexten: Theologie, Ontologie, Ethik, Erkenntnistheorie, Logik und Ästhetik. Trotz einer unleugbaren Kontinuität zur antiken und mittelalterlichen Beschäftigung mit dem Nichts bildet die europäische Moderne eine originäre und innovative Erkenntnis und Erfahrung des Nichts aus, die nicht zuletzt das Aufkommen des Nihilismus bescheinigt. Dieser Band versucht einen umfassenden Blick auf das Themenfeld «Nichts - Negation - Nihilismus» zu werfen und insbesondere (...)
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  7.  16
    Improvisation and ontology of art.Alessandro Bertinetto - 2020 - Rivista di Estetica 73:10-29.
    I aim at explaining the sense in which the notion of improvisation is important for the ontology of art. In the first part, I criticize the widespread assumption of the repeatability of a musical work without transformation of its identity and defend Conversational Improvisational Emergentism (CIE) as the specific contribution of improvisation to musical ontology: in an improvisation, values and meanings of what has been played constrain what follows and are themselves retroactively (trans)formed by what follows; likewise, the performing interpretations (...)
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  8.  14
    A ontologia performativa de Fichte.Alessandro Bertinetto - 2015 - Revista de Filosofia Aurora 27 (42):801.
    Que contribuição a filosofia de Fichte pode dar à ontologia? Fichte posicionou-se claramente contra a ontologia enquanto descrição dos entes, isto é, contra a ontologia descritiva. A doutrina da ciência desenvolve pois uma ontologia prescritiva que pode ser entendida como um tipo de “ontologia performativa”.
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  9.  11
    Das Bild als Durch-Einheit.Alessandro Bertinetto - 2016 - Fichte-Studien 42:67-76.
  10.  47
    Genèse et récursivité: la déduction des catégories dans la Doctrine de la Science 1805 de J.G. Fichte.Alessandro Bertinetto - 2007 - Révue de Métaphisique Et de Morale 3 (4):521-553.
  11.  17
    Genèse et récursivité : la déduction des catégories dans la Doctrine de la science de 1805de J. G. Fichte.Alessandro Bertinetto - 2007 - Revue de Métaphysique et de Morale 56 (4):521.
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  12.  15
    Action as Abductive Performance: An Improvisational Model.Alessandro Bertinetto & Patrick Grüneberg - 2023 - International Journal of Philosophical Studies 31 (1):36-53.
    According to Gilbert Ryle, improvisation is a basic feature of ordinary action. In this paper, we take this idea seriously. Action is improvisation, in that it is situated: It is shaped by attentive responses to environmental circumstances. This is a crucial aspect of agency. However, it is neglected by causal theories of action (Bratman; Mele) and only partially addressed by Thompson’s process-oriented theory. By resorting to Kant’s theory of judgment, we argue for understanding action performance in terms of improvisational shaping (...)
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  13. Performing the Unexpected Improvisation and Artistic Creativity.Alessandro Bertinetto - 2012 - Daimon: Revista Internacional de Filosofía 57:117-135.
    In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology of improvisation (III). (...)
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  14. Arte como desrealización.Alessandro Bertinetto - 2006 - Daimon: Revista Internacional de Filosofía 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  15.  6
    Il pensiero dei suoni: temi di filosofia della musica.Alessandro Bertinetto - 2012 - [Milan, Italy]: B. Mondadori.
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  16.  43
    Bild. Fichte und der "iconic turn".Alessandro Bertinetto - 2012 - Fichte-Studien 36:269-284.
  17.  28
    What is wrong with failed art?Adam Andrzejewski & Alessandro Bertinetto - 2021 - Studi di Estetica 19.
    The aim of this paper is to argue that proper artistic failure may turn out to be artistically appreciated and even considered as artistically successful. A set of arguments is provided in order to overcome intentionalism, the widely accepted view according to which an artist’s intentions fix the artwork’s meaning. Instead, we propose and elaborate an alternative model: emergentism of artistic meaning and value. Emergentism explains how artistic failure can turn out to be artistically successful. That is, artworks may succeed (...)
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  18. A Apresentação Genética Das Imagens Como Possibilidade Do Conhecimento – Uma Introdução À Teoria Das Imagens Na Obra Tardia De Fichte: A genetic presentation of images as possibility of knowledge – an introduction to Images Theory on Fichte’s late work.Alessandro Bertinetto - 2009 - Controvérsia 5 (3).
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  19.  6
    Anerkennung der Kunst – Anerkennung durch Kunst.Alessandro Bertinetto - 2007 - In Christoph Asmuth (ed.), Transzendentalphilosophie Und Person: Leiblichkeit - Interpersonalität - Anerkennung. Transcript Verlag. pp. 337-350.
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  20. Bild. Fichte und der »Iconic Turn«.Alessandro Bertinetto - 2012 - Fichte-Studien 36:269-284.
     
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  21.  6
    (Caso) per caso. La contingenza nell'improvvisazione artistica.Alessandro Bertinetto - unknown
    In this article I discuss different ways in which chance can intervene in artistic practices. The thesis I propose is twofold. I. If the intervention of alea in art is taken to its extreme consequences, it may be hard to understand whether and in what terms there is still an artistic practice at stake; and if there is actually an artistic practice at stake, then the contribution of alea is organized, and therefore, in a sense, culturally tamed. II. For the (...)
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  22.  19
    »Die absolute Kraft des Bildens« Image et conscience de soi dans la Doctrine de la Science de Fichte.Alessandro Bertinetto - 2014 - Fichte-Studien 41:45-71.
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  23.  12
    Die Expressivität von Musik und ihre ethische Prägnanz.Alessandro Bertinetto - 2012 - Deutsche Zeitschrift für Philosophie 60 (2):310-316.
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  24.  36
    Die Grundbeziehung von »Leben« und »Sehen« in der ersten Transzendentalen Logik Fichtes.Alessandro Bertinetto - 2003 - Fichte-Studien 20:203-213.
    Die erste, noch unveröffentlichte, Vorlesung über die Transzendentale Logik wurde von Fichte in Berlin während des SS 1812 gelesen.
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  25.  10
    Die Grundbeziehung von »Leben« und »Sehen« in der ersten Transzendentalen Logik Fichtes.Alessandro Bertinetto - 2003 - Fichte-Studien 20:203-213.
    Die erste, noch unveröffentlichte, Vorlesung über die Transzendentale Logik wurde von Fichte in Berlin während des SS 1812 gelesen.
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  26.  60
    Die transzendentale Argumentation in der Transzendentalen Logik Fichtes.Alessandro Bertinetto - 2007 - Fichte-Studien 31:255-265.
  27.  5
    Die transzendentale Argumentation in der Transzendentalen Logik Fichtes.Alessandro Bertinetto - 2007 - Fichte-Studien 31:255-265.
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  28.  3
    Estetica dell'improvvisazione.Alessandro Bertinetto - 2021 - Bologna: Il mulino.
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  29. Einleitung.Alessandro Bertinetto - 2014 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 59 (1):11-13.
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  30.  15
    Fichte nell'attuale storiografia filosofica in Italia.Alessandro Bertinetto - forthcoming - Rivista di Storia Della Filosofia.
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  31.  1
    Il bello dell'esperienza: la nuova estetica tedesca.Alessandro Bertinetto, Georg W. Bertram & Lambert Wiesing (eds.) - 2016 - Milano: Christian Marinotti edizioni.
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  32.  3
    Improvvisazione ed emergenza. Risonanza espressiva e making sense dell’imprevisto.Alessandro Bertinetto - 2022 - Studi di Estetica 23.
    The concepts of “improvisation” and “emergency” share interesting semantic traits. Both have a neutral meaning, according to which “improvisation” means an action developed as it is done, and “emergency” means the “surfacing” of so-mething. However, in a negative sense, “improvised” means “poorly done or exe-cuted” and “emergency” is an “accident,” a “problem” to be solved. In this contri-bution, I offer some ideas for elaborating this connection between improvisation and emergency in relation to the aesthetic realm of art.
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  33.  1
    Jazz als gelungene Performance – Ästhetische Normativität und Improvisation.Alessandro Bertinetto - 2014 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 59 (1):105-140.
    In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the (...)
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  34.  6
    Kant’s Concept of Power of Judgment and the Logic of Artistic Improvisation.Alessandro Bertinetto & Stefano Marino - 2020 - In Stefano Marino & Pietro Terzi (eds.), Kant’s ›Critique of Aesthetic Judgment‹ in the 20th Century: A Companion to its Main Interpretations. De Gruyter. pp. 315-338.
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  35. Le critiche di fichte alla naturphilosophie negli anni dell'insegnamento all'UniversitÀ di Berlino (1810-1814).Alessandro Bertinetto - 2004 - Filosofia 55 (1):1-32.
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  36.  14
    La funzione logica dell'immagine nel pensiero trascendentale di Fichte.Alessandro Bertinetto - 2014 - Rivista di Storia Della Filosofia 69 (4):685-700.
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  37.  27
    Logik, Metaphysik, Wissenschaftslehre: Die Institutiones omnis philosophiae J.G. Fichtes.Alessandro Bertinetto - 2009 - Fichte-Studien 34:343-357.
  38.  10
    Logik, Metaphysik, Wissenschaftslehre: Die Institutiones omnis philosophiae J.G. Fichtes.Alessandro Bertinetto - 2009 - Fichte-Studien 34:343-357.
  39.  7
    Logik, Metaphysik, Wissenschaftslehre: Die Institutiones omnis philosophiae J.G. Fichtes.Alessandro Bertinetto - 2009 - Fichte-Studien 34:343-357.
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  40. L'appercezione trascendentale nell'ultimo sistema berlinese di Fichte.Alessandro Bertinetto - 2012 - Annuario Filosofico 28:325-340.
    In this paper I investigate the developments of the notion of “transcendental apperception” in Fichte’s writings of the period 1811-1813. I pay particular attention at the second lessons on transcendental Logic, as well as at the lessons on the WL 1812 and 1813 and at the diarium 1813. I follow and closely examine the philosophical work Fichte does regarding the concept of apperception, which is at the core of Kant’s transcendental deduction in the Critique of pure reason. Claiming that Kant’s (...)
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  41.  12
    "La vida es el absoluto". Materiali sulla relazione fra la Lebenslehre di Fichte e il raciovitalismo di Ortega. / Material sobre la relacion entre el Lebenslehre de Fichte y el raciovitalismo de Ortega / “Life is the Absolute“: Material on the Relationship Between Fichte's Concept of Lebenslehre and Ortega’s Concept of Raciovitalism.Alessandro Bertinetto - 2002 - Rivista di Storia Della Filosofia 57 (3):469-488.
  42.  48
    Negative Darstellung. Das Erhabene bei Kant und Hegel.Alessandro Bertinetto - 2006 - Internationales Jahrbuch des Deutschen Idealismus / International Yearbook of German Idealism 4:124-151.
  43.  7
    Sistema e libertà. Razionalità e improvvisazione tra filosofia, arte e pratiche umane. Introduzione.Alessandro Bertinetto, Marco Ivaldo & Alessandro Sbordoni - 2015 - Itinera 10.
    Why "System and Freedom"? Why "Rationality and Improvisation"? These are the two questions that are at the origin of the conference "System and freedom. Rationality and improvisation between philosophy, art and human practices". The conference, held on 28-31 January 2015 in the premises of the University of Turin and organized by the Center for Philosophical-religious Studies Luigi Pareyson, thanks to funding from the Piedmont Region, and with the sponsorship of the Interuniversity Center of Morphology Francesco Moiso, had a large audience (...)
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  44. The criticism of Fichte in Natural Philosophy in the years of education as the University of Berlin (1810-1814).Alessandro Bertinetto - 2004 - Filosofia 55 (1):1-32.
     
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  45.  15
    The Routledge Handbook of Philosophy and Improvisation in the Arts.Alessandro Bertinetto & Marcello Ruta (eds.) - 2021 - Routledge.
    Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. (...)
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  46.  4
    Valore E autonomia dell’improvvisazione. Tra Arti E pratiche.Alessandro Bertinetto - 2016 - Kaiak. A Philosophical Journey 3 (6).
    In this paper I will accept Georg Bertram’s criticism against what he calls the “autonomist paradigm” in philosophy of art and I will follow his theoretical suggestion: a coherent, informed, and accomplished philosophy of art should consider not only the specific nature of art, but also its value for the human practices and as one of the human practices. However, I will show the connection between human practices and art in a different, although related, way. Instead of beginning from a (...)
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  47.  6
    Walt Alighieri. Comix, Commedia, Mixed Media.Alessandro Bertinetto - 2022 - Itinera - Rivista di Filosofia E di Teoria Delle Arti 24.
    In this contribution, I discuss the status of comics particularly through the exemplification of Disney’s Dante parodies, in light of some ideas I take in from aestheticological reflection on improvisational art practices. In particular, L’Inferno di Topolino, the first of the great Italian Disney parodies, is paradigmatic for understanding the character of comics as a metafinational hybrid transmedium, capable of appropriating the contents of literary classics, bringing them to life in relation to the contemporary situation.
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  48.  32
    «Wäre ihm dies klar geworden, so wäre seine Ktk. W.L. geworden«.Alessandro Bertinetto - 2009 - Fichte-Studien 33:145-164.
  49.  17
    «Wäre ihm dies klar geworden, so wäre seine Ktk. W.L. geworden«: Fichtes Auseinandersetzung mit Kant in den Vorlesungen über Transzendentale Logik.Alessandro Bertinetto - 2009 - Fichte-Studien 33:145-164.
  50. Johann Gottlieb fichte alla luce della recente storiografia.Matteo Vincenzo D'alfonso, Marco Ivaldo, Faustino Fabbianelli, Erich Fuchs, Gaetano Rametta & Alessandro Bertinetto - 2002 - Rivista di Storia Della Filosofia 57 (3):381-511.
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