Elia Gonnella

Contemporary ontology faces a fundamental challenge: How can entities exist in relation to their environments without reducing them to mere relations or isolated substances? This paper develops a spatial ontology that goes beyond the relationism-substantialism debate by examining how entities relate to their surroundings through what I term “spatial weavings”. Drawing on phenomenological analysis and biological examples, I argue that entities exist through dynamic spatial engagements that are neither reducible to network effects nor explicable as interactions between pre-given objects. Using Heidegger’s analysis of spatial existence and Sartre’s inversion of essence and existence, I demonstrate that spatiality is not a container for entities, but the fundamental structure through which entities become what they are. This approach contributes to post-correlationist ontology by grounding ontology in the concrete spatial practices through which entities encounter their environments. The paper concludes by extending this analysis beyond human existence to develop a general theory of spatial being that encompasses biological, technical, and material entities.

Is it possible to draw up a philosophy of sound in Heidegger? And is a phenomenology of the world as given through sound possible? Among post-Husserlian philosophers, Heidegger most radically emphasizes the inseparability of subject and world, to the extent that he avoids using such terminology to describe this kind of synusia. However, in the Heideggerian opus this fundamental determination is indicated both narrowly and loosely. The human being (das menschliche Seiende) can inquire into its relationships with its surroundings and grasp the references (Verweisungen) that constitute significance (Bedeutsamkeit); but can also dismiss this relationship and establish a different relation to things (abstrakt hören). Through phenomenological analysis of Heideggerian texts, it is possible to trace the outlines of a phenomenology of the world as given through sound, which provides the precise coordinates of a philosophy of sound in Martin Heidegger.

In this paper, I argue that we hear sounds as immediately linked to objects. We do not hear just disturbing events; we hear sounding objects. Anyway, observing Sardinian vocal practice, it emerges a real problematic issue for this approach and for ordinary intuition too (2+2=5). This issue gives us a real good matter for philosophy of sound, primarily because we find out that sounds stand in a relation of interpenetration, i.e., they are related to each other. In this peculiar sense, sounds are something that happens – objects-related events that encounter us – and, in this respect, they ask us to redefine what an object is.

L'articolo analizza i fondamenti delle indagini percettive nell'impostazione fenomenologica. In particolare l'ambito uditivo si struttura in modalità, ricezioni ed analisi che, attraverso la critica di vari autori (Husserl, Heidegger, Dufrenne, Ihde, Schaeffer), si mostrano articolate in due direzioni (soggetto-oggetto e oggetto-soggetto). L'analisi delle componenti costitutive porta a riconoscere come ricorrente tra autori differenti quell'impostazione del problema la quale asserisce che, se da un lato non può prescindere dall'attività percettiva, come attività propria del soggetto, dall'altro questa stessa cerca una legittimità emergente dalle cose stesse. La costituzione, una volta riconosciuto il darsi dell'oggetto sonoro, risiede, tuttavia, nelle attività percettive che delineano così il differenziarsi degli ascolti.

Filosofia plectica è una filosofia che pensa il rapporto che le cose, intese come entità complesse, intrattengono con l’intorno. È un’esigenza che nasce dal pensiero che le cose siano sempre un po’ intrecciate, non così semplici ma neanche così complesse. A partire dal rapporto con il mondo, animali, microbi, funghi, piante, foreste, pietre, cose, oggetti e materiali vengono visti come membri di un rapporto attivo con l’intorno attraverso la forma sinallagmatica di un mutuo scambio. Secondo questa proposta ogni ente è un dimorante, accoglie e rilascia le tracce intense del suo esistere.

From the very beginning, phenomenology met with sound inquiry. Not only the relationship between Husserl and Stumpf, whose investigations influenced numerous philosophers and twenty-century trends, but a whole musicological thread (Mersmann, Eimert, Güldenstein, Bekker) referred to phenomenology during the twenties and following decades (Besseler, Leibowitz, Schaeffer, Rognoni). From another side, explicit aesthetic reflections are traceable in the Göttingen Circle but also in W. Conrad, Schütz, Plessner, and Anders-Stern. Even Heidegger, Merleau-Ponty, up to Smith, Ihde, Dufrenne, Clifton, Ferrara, and Piana, which more or less systematically dealt with sound. The aim of this work is to show the fundamental cores of a phenomenology of sound; then, the continuing need for research. Through themes like the constitution of the sound-object, the phenomenological distinction between sounds and noises, and the spatial features of sound, the phenomenological scenario of sound inquiry will be pointed out and analyzed.

Husserl and the phenomenology of religion have a delicate relationship that combines direct references to religious themes with broader analyses subsumable under the more general phenomenology of consciousness. This paper shows the themes and problems of a Husserlian phenomenological analysis of religious consciousness through an encounter with its elements. Word, Prayer, relationship with the Sacred and Faith are some of the indelible traces of a phenomenology of religious consciousness. The belief, however, is that phenomenology can be spoken of if and only if the themes are addressed through the analysis of consciousness as the method teaches. Thus, an analysis of religious lived-experiences and transcendence (subjective and absolute) is joined by such phenomenologically diriment questions as a possible dichotomy between transcendence of immanence or immanence of transcendence.

The notion of hyle seems problematic for a phenomenological foundation of experience. For this very reason, its completed invalidity was generally postulated. At the same time, there are many reflections in Husserlian writings that help us understand it better. This paper attempts to show how hyletic experience, by existing in the lived body, triggers in parallel rhythmic, vibrating, and sonorous experiences as bodily experiences. Sounds are experienced by the body before any reflections or conscious experiences of them. In this way, the aporetical instance of hyletic data founds a proposal of resolution in the fundamental corporeal experience of sound.

Whilst arguing for sounds as repeatable objects does not seem suitable to our auditory experience, considering them as events can then help us understand some of their main features. In this sense, sounds are events happening to material objects; they have a beginning and an end; they are ephemeral entities that we cannot grasp as ordinary objects. Nevertheless, supporters of event theory usually focus on the autonomous status that sounds manifest from the things in the world. Conversely, when we hear sounds, we hear what and where they are sounding even in those theories that I will call detached-sound theories; in hearing them we hear how different materials create different sounds. Within the different positions of the event theory to pure-event or acousmatic proposal, the importance and role that the material has in the creation of diverse sounds does not always seem to be recognized. In this paper, I therefore aim to show how the materiality of resonating bodies and objects is given in all forms of auditory experience, not until analyzed the differences between object and event accounts in the philosophy of sound.

This paper analyses Spalding’s Betrachtung über die Bestimmung des Menschen (1748) through a translation proposal that tries to point out the human disposal to act ethically. In accord with modern German use, I argue for a translation of Bestimmung as disposition. In the first part of the article, I deal with the relevant issues for a philosophy of human experience that are present in Spalding’s text. In the second one, I bring the translation proposal into the philosophical domain showing how the Bestimmung as disposition suits the human nature, in particular for what concerns the ethics, namely the way humans are arranged to act with others, and things in a non-egoistic mode. The analysis rests on two philosophical concepts: Sorge (Heidegger) and Liebe (Jaspers), that give a description of the essential relational component of human beings in which to take care, to love, and to discover our surrounding world are the key points.

The relationship between knowledge and vision seems really consolidated. It started in ancient Greece and we can found its basis in Plato. The history of logos as reason and as western foundation of culture gives us enormous examples in terms of metaphors and approaches in the knowledge-vision relationship. «I see it» is like «I know it». However if we look at the basis of logos we find the deep meaning of gathering, composition, bond and bind (lèghein), so as to we could choose «to gather» as the best translation of logos (Hoffmann). My aim is to show how this key feature is represented by sounds. To think is to link information, memories and so on and the principal property of sound is union and merger. We can argue for a «sonorous thought» but in reality this property is simply the founding element of thought and reason. In fact if we analyse the limits of our knowledge (Kant, Plessner) we discover the incorrectness of knowledge-vision relationship – like the knowledge-discourse relationship. We should investigate this guideline as the recent research for Covid-19 vaccine has shown.

Starting from Jaspers’ analysis of attitudes in Psychologie der Weltanschauungen and analyzing their causes, we find an essential description of the human being. The human condition of being in the world (Heidegger, Jaspers) can be troubled (Freud, Jung). However, this is characteristic for human life (Jaspers, Schellenbaum). Among all attitudes, the enthusiastic one is the more consistent with human being’s dynamic nature (Bergson, Jaspers, Schellenbaum). The human being feels himself deeply touched (Scheler, Jaspers) and becomes stunned. The aim of the paper is to show that the enthusiastic view is well exposed by the act of singing. Traditionally analysed in connection with art (Cassirer, Solger, Wackenroder), the enthusiastic view gives us a “sound image” of the human being since his childhood (Gehlen, Leydi). In everyday life and by all its difficulties (Freud, Jung, Schellenbaum, Jaspers), the human being discloses his nature in acoustic manifestations (Keil, Kafka, Wackenroder) by expressing the enthusiastic mode.

Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view of anthropology and ethnomusicology.

Heidegger’s ontologische Differenz imposes methodological limits which strictly mark his philosophy for rigor and determinacy. If it is not possible to think Being from the categories of the entity, it is also true that the difference is a tank of possibilities and developments to which Heidegger himself hints at. From the accuracy of the early works to the overturning of the problem in the later works, the ontological difference is a constant of Heideggerian thought. This paper seeks to push Existenz from a mode of being of Dasein to a mode of giving of Seiende. In accordance with his late writings, bringing the question of the Being­-existence bond towards the perspective of the entity – and not only the entity among entities that poses the question –, the development of the problem in Heidegger’s meditation is analysed through the questions of ontological difference – the mode of negation, the between of distinction, the specific situatedness that defines experience, the Being, as a member of ontological difference, in its connection to the Nichts, the Event as a relaxation of the connection between Sein and Seiende. The entity that is exist­ent is the convergence point of the Event where Being and existent, Being and existence, are not in contrast, but protrude (ragen) towards each other revealing the traits of a Seyende des Seyns, of the entity of Being

In the last few years, the idea of human being has been enlarged from the individual closeness to morphogenetic openness. Concurrently with discovers and researches into invisible worlds that live with human beings – microbes, fungi, bacteria, etc. – a debate has opened up that agrees with recent positions in the field of ontology. The human being is capable of poietic openness and is defined by relations. Anyway, an absence of a rigorous conceptualisation of the individualising process remains latent to the discourse. A classic principle of individualisation is probably incomplete. This paper brings into dialogue individualisation with singularisation through the manifestation process of expression in accordance with recent theoretical enactments of hybridisation processes.

How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and relations of intimacy within it. Starting from the wealthy tips that E. T. Hall gives to us in order to delineate a new understanding of proxemics that includes sound experience, I argue that sound, silence, and noise are essential to determine the intimate space and the way we interact with it. Moving from a classical proxemics perspective, the analysis will focus on the intimate relation between sound, space, and body, dialoguing with phenomenology, anthropology, semiotics, and philosophy of space.

Listening is not an incorporeal experience; we do not listen with our non-extended minds. We listen with all our body, and music can change completely our personal structure. It is through sound experience that we change and asset ourselves. Studies in the doctrine of affects often use sonorous metaphors and concepts such as Stimmung, resonance, consonance, that refer to sound experience. In this paper, I try first of all to show how listening is rooted in body experience. Then, I argue for a new consideration of the notion of person that takes into account the fundamental sonorous basis – psycho-acoustic – of its constitution. Thanks to sounds we can reach a new conceptualization of emotional relations between persons which we attain through the person’s ordo amoris. Additionally, with the analysis of sounds we grasp some aspects of emotional experience related to the singular person (intra-personal). So, if sounds are profoundly related to corporeal experience, so strongly involving affects as to modify our personal structure and form a person’s constitution, and affects can really do that, their relationship need to be inquired where both sound experience and affection are rooted: corporeity.

In Kafka's work there are many examples of metamorphic instances. Die Verwandlung is obviously the first case that we are used to know as a real metamorphic example. However, it is not the only one, for examples Odradek, but also the way Kafka describes the encounter between characters or the characteristics of some of them (Das Schloss). The paper tries to conceptualize the metamorphosis through a distinction between two forms: (1) metamorphosis or transformation that allows us to know from where what is transformed comes (start) and where it arrives (arrival); (2) becoming that shows a tension between two different conditions or that not allows us to grasp something because of his intangibility. All this will be examined using the monumental work of Deleuze and Guattari and a phenomenology of metamorphosis developed by Conci.

Man avoids solitude through _divertissement_ because he is afraid of what staying alone entails: thinking about himself (Pascal). Furthermore, man seeks isolation in order to gain ambition and reputation (Montaigne). However, solitude is really different from isolation and it is a fundamental emotional condition. Heidegger’s analysis of the forms of boredom adapts to and relates to the specific dynamic of solitude, showing that it is a part of human being’s structure despite his experience appearing controversial. Even if man lives in modern apartments and one-room apartments, he is in a condition of co-isolation (Sloterdijk) that differs from solitude. There is a space solitude (Foucault) that involves – or can involve – human isolation, but we only experience essential solitude in sleep (Merleau-Ponty, Blanchot, Perec) where man detached himself from himself and he is really alone, from himself and the others. The forms of solitude lead the analysis towards impersonal activity.

I suoni e le immagini sembrano appartenere a due forme dell’esperienza profondamente distinte. Due registri sensoriali antitetici cui corrispondono due fenomeni accostabili, ma mai completamente unibili. Eppure si ricorre spesso all’espressione immagine sonora, che cosa si intende precisamente? Esiste un punto in cui i suoni e le immagini si appartengono reciprocamente? Può un’immagine risuonare e un suono essere anche un’immagine? Il testo cerca di rispondere a questi quesiti scavando e intarsiando una concettualizzazione dell’immagine sonora attraverso un dialogo con la semiotica, la fenomenologia e la filosofia dell’arte. Arricchendosi di una riflessione sul rapporto con il pensiero, l’indagine sull’immagine sonora si declina in tre momenti distinti: il suono con un fondamento d’immagine in cui l’elemento fondante è dato dalla presenza dell’immagine nel suono; il suono e l’immagine che si equivalgono orizzontalmente fondendosi l’uno con l’altra; l’immagine con un fondamento sonoro, in cui si rintracciano presenze sonore nell’immagine visiva.

Metamorphosis as it is represented by some pre-historical artists seems problematic for our occidental point of view. In fact, it seems to be strongly against identity and law of non-contradiction. Becoming in general is also viewed as an error or exception by our classic point of view. This very claim can conduct to theories of non-classical logic. Deleuze and Guattari in their monumental work had tried to offer enormous contributions in order to comprehend the becoming phenomenon. Through a pre-historical representations analysis, with also an intrusion in contemporary art's field, I want to confront with possible metamorphosis representations remain theoretically founded in the deleuzian proposal in dialogue with phenomenological inquiry. New principle of individuation and analysis of expression provide new looks to arisen problems with classical logic and metamorphosis representations, which will be acceptable and comprehensible as art shows.

Metamorphosis seems problematic for our occidental point of view. Becoming in general is viewed as an error or exception by our classic standpoint. In fact, it is strongly against identity and law of non-contradiction: A is fundamentally something different from B and for A it is impossible to be at the same time B. We need to think A as what-becomes-B in order to make metamorphosis possible. Anyway, how can A become B? As a matter of fact, this very claim has been historically the most common critic opposed to becoming. Deleuze and Guattari in their monumental work had tried to offer an enormous contribution to a few related problems. Redefining the subject as an event described by movement and affect can exceed the metamorphosis’ aporia. This new principle of individuation provides a new look upon arisen questions primarily because affects and movements are constant coordinates that define how metamorphosis is experienced. The paper tries to show how the betweenness in action in the encounter with people, human beings, things, animals, plants and minerals defines the logic field of metamorphosis. This is shown in dialogue with the ontological turn in anthropology that is particularly focused on this affective and lively dimension of encounter especially among Amazonian populations. Actually this is also what happens in our – occidental and classical but live – relation with things and objects, as long as we try to think a real conceptualisation of experience.