«What does art mean in a world where urgency predominates, a world that now exhausts its annual quota of renewable resources in July?» (Bourriaud [2021]: 7; my translation). The climate crisis (which began in the last century, but whose consequences have become increasingly worrying in recent years), the Covid 19 pandemic that struck the planet in 2020 and the recent conflict between Russia and Ukraine in the heart of Europe are epoch-making phenomena that are inevitably reshaping the present and future (...) of human societies. With respect to this situation, is art being called into question or, on the contrary, is it an essential tool for rethinking the world of tomorrow? More specifically, is public art today a lost cause or an opportunity? In this article, I will try to place these questions within the framework of what we might call eco-aesthetics, which has an essential connection to the category of “relations”. (shrink)

At the beginning of the XX century music’s aesthetic is not an autonomous discipline with defined borders. Scholars dealing with it are neither philosophers in the strict sense nor merely historians or critics of music. In this paper, I wonder about the possibility of finding the traces of the first Italian aesthetics of music among the folds of a composite and ongoing reflection and through the study of some generally-considered musicological production also having some philosophical profile. Along this path, some (...) figures of particular interest emerge such as that of Fausto Acanfora Torrefranca, a “non-aligned” intellectual, who firmly tried to give musical studies an aesthetic-philosophical basis, on the one hand, and a much needed rigor in the early twentieth century Italy on the other. (shrink)

The 18th century is the age of aesthetics. This is evidenced not only by the birth of the discipline, but also by the extraordinary production in the field of aesthetic studies, particularly in Germany, England, France, and Italy. David Hume’s Of the standard of taste (1757), a veritable manifesto of aesthetic subjectivism, is also set within this framework. More than two and a half centuries later, how can it be read? In this paper, I will attempt to support a thesis: (...) to identify traces of Hume’s theory of taste in some 20th century authors, in particular Adorno, Jauss, and Dickie. (shrink)

In this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the category of the so-called “technological music”; the second concerns the listening modes unavoidably involved in the reception of a music product, due to its very nature. To this end I shall focus my attention on some elements (...) that characterize both music production and reception: historical development of the relationship between technology and music; technologically mediated non-live listening; technologically mediated live listening; ontological oscillation in a musical work of art following its digitalization. These are issues that also bring into play aesthetics in a developmental stage of this discipline, in which a philosophical reflection on technological music may contribute to formulate – as J. Demers wrote – «a theory that acknowledges the interconnectedness of aesthetics with culture and society». (shrink)