Novità

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

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.

Novità

 Materiali di Estetica
- 1:2014 -
Pensare nella caverna. Incontri tra cinema e filosofia

Link al numero della rivista

     Rivista di Estetica: Schermi/Screens

a cura di Mauro Carbone e Anna Caterina Dalmasso

per saperne di più

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Il volume "Schermi/Screens" è stato recensito da Anna Li Vigni sul Sole 24 Ore lo scorso 3 agosto [reperibile qui] e dall’articolo di Marco Belpoliti apparso sulla Stampa il 23 settembre [reperibile qui]. 
Tale articolo ed i contributi del numero sono inoltre stati discussi nella rassegna stampa di Pagina 3 su Radio 3, il cui podcast potete trovare a questo link (la parte relativa a "Schermi/Screens" inizia dal minuto 11:30 circa).

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Mauro Carbone

LO SCHERMO, LA TELA, LA FINESTRA (E ALTRE SUPERFICI QUADRANGOLARI NORMALMENTE VERTICALI)

ABSTRACT

THE SCREEN, THE CANVAS, THE WINDOW (and other normally vertical quadrangular surfaces)

Though the image of vision still dominant is that of the window, though cinema conceived also itself according to that image, and though even the name of the most used operative computer system in the world evokes it, my hypothesis is that the optical apparatus we implicitly refer to nowadays has become the screen, which shows many differences from the window.

Therefore I believe that to understand how we conceive our present experience of screens, it would be helpful to comprehend our present experience of seeing. I think also that our present screens experience is the result of the screens experience that cinema taught us, even if many differences separate nowadays those two experiences.

On this subject, we know that, starting from the curtain behind which Pythagoras used to hide, the opaque surface of the screen has traditionally been considered to hamper vision and therefore to conceal truth. On the contrary, the advent of cinema has shown how the opacity of such a surface can actually make us see, thus reminding us that light and shade – traditionally opposed by our culture – simply cannot be separated. But this is not enough: it shall be added that such a surface has always solicited and oriented the desire of he or she who contemplated it. If such a desire used to coincide with the possibility of seeing beyond the screen, today the screen surface rather envelops us in a reversible visibility, inviting us to dwell in it.

We may then connect the century of cinema – that has just ended – to a progressive affirmation of a different way of conceiving the giving of our encounter with the world. Such a way shall slip from a theatrical apparatus like that of the window (that is, par excellence, a representative apparatus opening up through the opening of a curtain) to a cinematographic apparatus, of which I try to outline a few characteristics in my essay.