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 Mauro Carbone
THE FLESH OF IMAGES
Merleau-Ponty between Painting and Cinema

 

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Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory.

 

In The Flesh of Images, Mauro Carbone begins with the point that Merleau-Ponty’s often misunderstood notion of “flesh” was another way to signify what he also called “Visibility.” Considering vision as creative voyance, in the visionary sense of creating as a particular presence something which, as such, had not been present before, Carbone proposes original connections between Merleau-Ponty and Paul Gauguin, and articulates his own further development of the “new idea of light” that the French philosopher was beginning to elaborate at the time of his sudden death. Carbone connects these ideas to Merleau-Ponty’s continuous interest in cinema—an interest that has been traditionally neglected or circumscribed. Focusing on Merleau-Ponty’s later writings, including unpublished course notes and documents not yet available in English, Carbone demonstrates both that Merleau-Ponty’s interest in film was sustained and philosophically crucial, and also that his thinking provides an important resource for illuminating our contemporary relationship to images, with profound implications for the future of philosophy and aesthetics. Building on his earlier work on Marcel Proust and considering ongoing developments in optical and media technologies, Carbone adds his own philosophical insight into understanding the visual today.

 


 
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THE FLESH OF THE VISUAL:

AN INTERVIEW WITH MAURO CARBONE

 

Sophie Koeller & Louis Cheng

Vassar College

 

This interview was originally published in the Vassar College Journal of PhilosophyIssue 2.

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Novità

 Mauro Carbone
Una deformación sin precedentes
Marcel Proust y las ideas sensibles

 

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Una deformación sin precedentes se propone reencontrar, explorar y desarrollar la actualidad y la radicalidad de algunas de las cuestiones que la obra de Proust no deja de plantear a la filosofía. ¿Es cierto que los seres humanos tienden espontáneamente a la verdad? Y si esto no es así, ¿cómo acontece que en ellos surja, tomando las formas de pensamiento que solemos llamar «ideas», el conocimiento tanto de la experiencia de sí mismos como del mundo? ¿En qué consisten, entonces, tales ideas? ¿Podemos seguir describiéndolas en la manera que nos ha transmitido la tradición predominante en el pensamiento occidental: el platonismo? Mauro Carbone presenta al pensamiento y al arte de los siglos XX y XXI un espejo donde reflejarse y sobre el cual reflexionar.

 


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Novità

In Libreria

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Mauro Carbone

« Variazioni sulla tecno-estetica»

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22 maggio 2015

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ISCRIZIONI APERTE

UNIVERSITÉ JEAN MOULIN LYON 3

FACULTÉ DE PHILOSOPHIE

MASTER 2 RECHERCHE

SPÉCIALITÉ ESTHÉTIQUE ET CULTURES VISUELLES

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