The paper examines the connection between art and poiesis, moving from Aristotle’s Metaph. A 1 and Z 7-9. In particular, the analysis of those passages suggests dividing the genesis of artworks into noesis and poiesis. The noesis is the phase in which the artist plans in his mind the eidos (aspect) of the work that he is going to produce; the poiesis is the realization which actualizes – through its extrinsecation – the “aspect” mentally planned by the artist. After the exposition of Aristotle’s…
Read moreThe paper examines the connection between art and poiesis, moving from Aristotle’s Metaph. A 1 and Z 7-9. In particular, the analysis of those passages suggests dividing the genesis of artworks into noesis and poiesis. The noesis is the phase in which the artist plans in his mind the eidos (aspect) of the work that he is going to produce; the poiesis is the realization which actualizes – through its extrinsecation – the “aspect” mentally planned by the artist. After the exposition of Aristotle’s theory, the related conceptual elements are developed, also having recourse to musical examples, in order to show the strict link between speculation and artistic praxis. The term enopé occurs in this part of the work as a metaphor which renders the peculiar form of presence of the work of art, whose essence emerges in the course of production. Moreover, a specific section is devoted to illustrating that ready-mades can be conciliated with the poietic nature of art. Finally, the paper focuses on performing (called «re-productive») arts, such as music; those forms of art include two poietic phases: the poiesis of the author (e. g., the composer) and the poiesis of the interpreter. The last paragraph considers the musical avant-gardes and explains that they confirm the poietic foundation of art, instead of denying it.
