•  1
    Il bello dell'esperienza: la nuova estetica tedesca (edited book)
    Christian Marinotti edizioni. 2016.
  •  1
    Jazz als gelungene Performance – Ästhetische Normativität und Improvisation
    Zeitschrift 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
  • Einleitung
    Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 59 (1): 11-13. 2014.
  •  18
    Action as Abductive Performance: An Improvisational Model
    International 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
  •  6
    Walt Alighieri. Comix, Commedia, Mixed Media
    Itinera - 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
  •  3
    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
  •  10
    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.
  • 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 emerges, on the one ha…Read more
  •  6
    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 purposes of developing a philosophy of …Read more
  •  28
    What 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
  •  16
    Improvisation and ontology of art
    Rivista 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
  •  2
    Dishes as Performances
    Humana 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
  •  4
    Valore E autonomia dell’improvvisazione. Tra Arti E pratiche
    Kaiak. 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
  • Johann Gottlieb fichte alla luce della recente storiografia
    with Matteo Vincenzo D'alfonso, Marco Ivaldo, Faustino Fabbianelli, Erich Fuchs, and Gaetano Rametta
    Rivista di Storia Della Filosofia 57 (3): 381-511. 2002.
  •  16
    The Routledge Handbook of Philosophy and Improvisation in the Arts (edited book)
    with Marcello Ruta
    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
  •  59
    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
  •  7
    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 Mor…Read more
  •  11
    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.
  •  17
    Forum on Jerrold Levinson, "Contemplating Art"
    with M. Rotili, J. Levinson, M. Di Monte, F. Focosi, and L. Giombini
    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
  •  15
    A ontologia performativa de Fichte
    Revista 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”.
  • 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
  •  11
    Das Bild als Durch-Einheit
    Fichte-Studien 42 67-76. 2016.
  •  36
    Die erste, noch unveröffentlichte, Vorlesung über die Transzendentale Logik wurde von Fichte in Berlin während des SS 1812 gelesen.
  •  49
    Negative Darstellung. Das Erhabene bei Kant und Hegel
    Internationales Jahrbuch des Deutschen Idealismus / International Yearbook of German Idealism 4 124-151. 2006.
  •  223
    Performing the Unexpected Improvisation and Artistic Creativity
    Daimon: Revista Internacional de Filosofía 57 117-135. 2012.
    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…Read more
  •  14
    La funzione logica dell'immagine nel pensiero trascendentale di Fichte
    Rivista di Storia Della Filosofia 69 (4): 685-700. 2014.