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22Forum on Jerrold Levinson, "Contemplating Art"Lebenswelt: Aesthetics and Philosophy of Experience 5 1-38. 2014.Jerrold Levinson’s Contemplating Art provides the readers with a variety of heterogeneous topics and issues. The discussants who took part in the Forum about Levinson’s book chose four different “tracks” dealt with, offering four different reflections. The main topics of the debate are: music, historicity, aesthetic properties and aesthetic contextualism. Starting on the fact that music is one of the main fields of Contamplating Art Alessandro Bertinetto focus his paper on the ‘musical’ chapters…Read more
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20Il bello dell'esperienza: la nuova estetica tedesca (edited book)Christian Marinotti edizioni. 2016.
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10Jazz als gelungene Performance – Ästhetische Normativität und ImprovisationZeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 59 (1): 105-140. 2014.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 a…Read more
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23Action as Abductive Performance: An Improvisational ModelInternational Journal of Philosophical Studies 31 (1): 36-53. 2023.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 performa…Read more
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8Walt Alighieri. Comix, Commedia, Mixed MediaItinera - Rivista di Filosofia E di Teoria Delle Arti 24. 2022.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…Read more
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9Morte dell'arte e rinascita dell'immagine: saggi in onore di Federico Vercellone (edited book)Aracne editrice. 2017.
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7Improvvisazione ed emergenza. Risonanza espressiva e making sense dell’imprevistoStudi di Estetica 23. 2022.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 t…Read more
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16Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice, edited by Susanne Ravn, Simon Høffding, and James McGuirkEstetika: The European Journal of Aesthetics 59 (2): 165-171. forthcoming.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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6Following 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 emerges, on the one ha…Read more
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12In 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 purposes of developing a philosophy of …Read more
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32What is wrong with failed art?Studi di Estetica 19. 2021.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…Read more
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21Improvisation and ontology of artRivista di Estetica 73 10-29. 2020.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)forme…Read more
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7Dishes as PerformancesHumana Mente 13 (38). 2020.The relationship between 1. recipes, 2. ingredients and 3. dishes may be understood in analogy to the relationship between elements in the performing arts: for example, in music, 1. musical works, 2. ‘musical ingredients’ and 3. performances. The recipe’s inventor is a ‘composer’ and the cook is a ‘performer’. As I will argue, both in musical performances and in the preparation of dishes, the application of norms requires ‘creative’ adaptation to the concrete specific situation and the final pro…Read more
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10Valore E autonomia dell’improvvisazione. Tra Arti E praticheKaiak. A Philosophical Journey 3 (6). 2016.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 reflecti…Read more
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Johann Gottlieb fichte alla luce della recente storiografiaRivista di Storia Della Filosofia 57 (3): 381-511. 2002.
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11Kant’s Concept of Power of Judgment and the Logic of Artistic ImprovisationIn 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. 2020.
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21The Routledge Handbook of Philosophy and Improvisation in the Arts (edited book)Routledge. 2021.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 s…Read more
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68We Make Up the Rules as We Go Along: Improvisation as an Essential Aspect of Human Practices?Open Philosophy 3 (1): 202-221. 2020.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 preparat…Read more
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12Why "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 Mor…Read more
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13‘Mind the Gap’. L'improvvisazione come azione intenzionaleItinera 10. 2015.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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24A ontologia performativa de FichteRevista de Filosofia Aurora 27 (42): 801. 2015.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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20L'art et le désir de Dieu: Une enquête philosophique, by RogerPouivet, Rennes, France: Presses Universitaires de Rennes, 2017, 219 pp. ISBN 978‐2‐7535‐5386‐6; ISSN 1761‐8304pb €20 (review)European Journal of Philosophy 26 (2): 901-905. 2018.
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L'appercezione trascendentale nell'ultimo sistema berlinese di FichteAnnuario Filosofico 28 325-340. 2012.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 n…Read more
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23Genèse et récursivité : la déduction des catégories dans la Doctrine de la science de 1805de J. G. FichteRevue de Métaphysique et de Morale 56 (4): 521. 2007.
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18Die Expressivität von Musik und ihre ethische PrägnanzDeutsche Zeitschrift für Philosophie 60 (2): 310-316. 2012.
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104Riccardo Martinelli: I filosofi e la musica (review)Philosophischer Literaturanzeiger 67 (4): 395-402. 2014.
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58Genèse et récursivité: la déduction des catégories dans la Doctrine de la Science 1805 de J.G. FichteRévue de Métaphisique Et de Morale 3 (4): 521-553. 2007.
Areas of Specialization
Aesthetics |
Philosophy of Music |
Philosophical Traditions |
19th Century German Philosophy |