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On accusait hier l'esthétique de dissimuler les jeux culturels de la distinction sociale. On voudrait aujourd'hui délivrer les pratiques artistiques de son discours parasite. Mais l'esthétique n'est pas un discours. C'est un régime historique d'identification de l'art. Ce régime est paradoxal, car il ne fonde l'autonomie de l'art qu'au prix de supprimer les frontières séparant ses pratiques et ses objets de ceux de la vie ordinaire et de faire du libre jeu esthétique la promesse d'une révolution nouvelle. L'esthétique n'est pas politique par accident mais par essence. Mais elle l'est dans la tension irrésolue entre deux politiques opposées: transformer les formes de l'art en formes de le vie collective, préserver de toute compromission militante ou marchande l'autonomie qui en fait une promesse d'émancipation. Cette tension constitutive explique les paradoxes et les transformations de l'art critique. Elle permet aussi de comprendre comment les appels à libérer l'art de l'esthétique conduisent aujourd'hui à le noyer, avec la politique dans l'indistinction éthique.

Aesthetics, Modern. --- Esthétique

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Originally published in Italian in 2010, this book is the first to address the theory of atmospheres in a thorough and systematic way. It examines the role of atmospheres in daily life, and defines their main characteristics. Outlining the typical phenomenological situations in which we experience atmospheres, it assesses their impact on contemporary aesthetics. It puts forward a philosophical approach which systematises a constellation of affects and climates, finds patterns in the emotional tones of different spaces (affordances) and assesses their impact on the felt body. It also critically discusses the spatial turn invoked by several of the social sciences, and argues that there is a need for a non-psychologistic rethinking of the philosophy of emotions. It provides a history of the term 'atmosphere' and of the concepts anticipating its meaning (genius loci, aura, Stimmung, numinous, emotional design and ambiance), and examines the main ontological characteristics of atmospheres and their principal phenomenological characteristics. It concludes by showing how atmospheres affect our emotions, our bodies' reactions, our state of mind and, as a result, our behaviour and judgments. Griffero assesses how atmospheres are more effective than we have been rationally willing to admit, and to what extent traditional aesthetics, unilaterally oriented towards art, has underestimated this truth.

Philosophical anthropology --- Aesthetics --- Affective and dynamic functions --- Architecture --- Criticism --- Social aspects --- Space. --- Aesthetics, Modern. --- Emotions (Philosophy) --- Espace --- Esthétique --- Emotions (Philosophie) --- Space --- Mood (Psychology) --- Aesthetics, Modern

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I saggi qui raccolti, quando non specificamente indicato, sono una parziale rielaborazione degli interventi ospitati nel ciclo di incontri Arte Identità Confini svoltosi dal 26 febbraio al 19 marzo 1995 al Palazzo della Esposizioni di Roma, realizzato dall'Assessorato alla Cultura del Comune di Roma in collaborazione con Zerynthia Associazione per l'arte contemporanea. Series of meetings with performances, lectures, video and exhibition. Abramovic, Marina ; Araeen, Rasheed ; Bagnoli, Marco ; Doherty, Willie ; Durham, Jimmie ; Esposito, Bruna ; Galeotti, Roberto ; Green, Renée ; Hatoum, Mona ; Lebel, Jean-Jacques ; Mauri, Fabio ; Muntadas, Antoni ; Nitsch, Hermann ; Pistoletto, Michelangelo ; Prini, Emilio ; Sforza, Francesco ; Staehle, Wolfgang ; Strano Network ; Toderi, Grazia ; Tozzi, Tommaso ; Valentino, Nicola ; Vercruysse, Jan ; Vitone, Luca ; Zevi, Adachiara

Art, Modern --- Aesthetics, Modern --- Art --- Esthétique moderne --- Congresses. --- Congrès --- Esthétique moderne --- Congrès

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The Ideology of the Aesthetic presents a history and critique of the concept of the aesthetic throughout modern Western thought. As such, this is a critical survey of modern Western philosophy, focusing in particular on the complex relations between aesthetics, ethics and politics. Eagleton provides a brilliant and challenging introduction to these concerns, as characterized in the work of Kant, Schiller, Schopenhauer, Kierkegaard, Marx, Nietzsche, Freud, Heidegger, Lukacs, Adorno, Habermas, and others. Wide in span, as well as morally and politically committed, this is Terry Eagleton's major work to date. It forms both an original enquiry and an exemplary introduction. (4 ème de couverture)

Aesthetics [Modern ] --- Esthetica (Moderne filosofie) --- Esthetica [Moderne ] --- Esthétique (Philosophie moderne) --- Esthétique moderne --- Modern aesthetics --- Moderne esthetica --- Aesthetics, Modern. --- #A9302PC --- Esthétique moderne --- Aesthetics, Modern --- 7.01 --- 7.01 Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Aesthetics --- Art --- Esthétique --- Philosophie --- Philosophie de l'art --- CDL

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In this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does. Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is Not a Pipe, Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity. In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect--for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property.

Parody in art. --- Aesthetics, Modern --- Arts, Modern --- 82-7 --- 82.01 --- -Parody in art --- Modern arts --- Humor. Satire --- Esthetica --- -82-7 --- 82.01 Esthetica --- 82-7 Humor. Satire --- -Parody in art. --- -Aesthetics, Modern --- Parody in art --- Aesthetics --- History --- 82-7 Prose satire. Humour, epigram, parody etc. --- Prose satire. Humour, epigram, parody etc. --- Aesthetics, Modern - 20th century. --- Arts, Modern - 20th century. --- Forme (esthétique) --- Art --- Littérature --- Parodie (art) --- Esthétique --- Arts --- 20e siècle --- Thèmes, motifs