It is likely that not everyone agrees with the possibility of reaching an exhaustive definition of Aesthetics object of research, or at least that this aim is achievable through traditional methods; so, what might have caused such a resignation? What about the placing of the Duchamps Fountain and the Warhols Campbell soup on Art world? I have tried to examine the meaning of calling some objects Work of Art, structuring an Ontological analysis of the artworks mode and condition of existence. This specific field of research needs to give a strictly definition of Art, but on the other hand it has no possibility for achieving that target just by counting the (few) characteristics that are shared by every single piece of art that leads to the possibility of a loss of boundary that separates them from mundane, everyday items. In my opinion Aesthetics still must research on modes and conditions of works of art but, now both observing visible characteristics and investigating on their specific formation process. Focussing on the unique mode of existence of artworks, I have elaborated a model that works with the Regulative Process that leads to the creation of the Object, the same process that can give a deep meaning to a neutral item: examining the genesis, from a neutral item, of an object now perceptible and conceivable as a work of art. The peculiar normativity of The Constitutive Rules, that is a term largely used by the contemporary philosophy of Low, has proven effective in analysing the way in which social objects have come to exist and, I reckon, with its structure can describe some characteristics of the genesis of artworks, easily embedding the Dantos theorical structure based on the concept of transfiguration, for instance. Surprisingly, the analysis of the artwork as a social being based on the concept of Rule, and on the Logical structure related to it, effectively clarifies some thorny topics of contemporary analytical aesthetics, helping us to examine them. So, through this model I can give an interpretation of principles that determine the identity of products. This tool can explain the observed differences between playing a variation of a Sonata, seeing a copy of a painting and listening to (the same) Beethoven's Ninth Symphony. Thanks to this structure we can also grasp under what conditions the Identity of all these things can be preserved (or lost). The aim of this paper is to define the Artwork through its own process to existence. The analysis I proposed shifts the focus from the perceivable external characteristics to the research of a new subject of the Aesthetics investigation. Eventually the purpose is to use this ontological structure as a key to go through the problems related to the contemporary debate on Aesthetics.
Certamente non tutta la ricerca estetica pensa si possa dare una definizione esaustiva dei suoi oggetti nei termini con cui a lungo in passato si era tentato di fare; ma cosa può aver provocato un tale empasse? Forse laver visto la Fountain di Duchamp? Forse laver studiato la Campbell Soup di Warhol? Forse laverle chiamate nello stesso modo con cui veniva chiamata la Kreidefelsen auf Rügen di Friedrich, ovvero arte. Larticolo si propone di indagare cosa si intenda per oggetto artistico, sviluppando una ricerca che si interessi della sua ontologia e delle sue condizioni di esistenza. Questo campo di ricerca, da una parte, sente forte la necessità di poter offrire una definizione dellarte mentre dallaltra si trova nellimpossibilità di farlo semplicemente enumerando le caratteristiche condivise da ogni opera con la conseguenza di perderne il confine che le separa dagli oggetti comuni. Concentrandomi sul particolare modo dessere delle opere artistiche, ho sviluppato una ricerca ontologica intenzionata ad analizzare il processo regolativo che porta alla creazione delloggetto stesso. La normatività propria delle Regole Costitutive, concetto utilizzato soprattutto nella filosofia contemporanea del diritto, è in grado di catturare nel suo processo alcune caratteristiche essenziali della creazione dellopera a partire da un oggetto materiale. Sorprendentemente, una ricostruzione sociale dellopera darte fondata sul concetto di Regola e sulla logica ad essa collegata permette di rendere chiare e analizzabili alcuni nodi cruciali dellestetica analitica contemporanea. Si cerca di offrire uninterpretazione dei principi che regolano le identità dei prodotti, riuscendo non solo a delineare le differenze che sussistono tra ascoltare la variazione di una sonata, vedere la copia di un dipinto, sentire La (stessa) Nona Sinfonia di Beethoven ma anche di esaminare in base a cosa e sotto quali condizioni viene preservata (o meno) lidentità dellopera darte. La mia ricerca, dunque, si propone di definire lopera darte attraverso il processo stesso che la porta allesistenza. Ricostruirla a partire dalla normatività specifica della regola che si ritrova alla sua origine significa allora spostare lattenzione dalle caratteristiche esteriori verso lindividuazione di un nuovo soggetto della ricerca estetica ed infine utilizzare tale strumento come base ontologica sul quale reimpostare i principali quesiti della ricerca estetica.
Le Strutture dell'opera d'arte Il ruolo della modellizzazione in R.Wollheim e J.Margolis
FICARELLI, GIORGIO
2018/2019
Abstract
It is likely that not everyone agrees with the possibility of reaching an exhaustive definition of Aesthetics object of research, or at least that this aim is achievable through traditional methods; so, what might have caused such a resignation? What about the placing of the Duchamps Fountain and the Warhols Campbell soup on Art world? I have tried to examine the meaning of calling some objects Work of Art, structuring an Ontological analysis of the artworks mode and condition of existence. This specific field of research needs to give a strictly definition of Art, but on the other hand it has no possibility for achieving that target just by counting the (few) characteristics that are shared by every single piece of art that leads to the possibility of a loss of boundary that separates them from mundane, everyday items. In my opinion Aesthetics still must research on modes and conditions of works of art but, now both observing visible characteristics and investigating on their specific formation process. Focussing on the unique mode of existence of artworks, I have elaborated a model that works with the Regulative Process that leads to the creation of the Object, the same process that can give a deep meaning to a neutral item: examining the genesis, from a neutral item, of an object now perceptible and conceivable as a work of art. The peculiar normativity of The Constitutive Rules, that is a term largely used by the contemporary philosophy of Low, has proven effective in analysing the way in which social objects have come to exist and, I reckon, with its structure can describe some characteristics of the genesis of artworks, easily embedding the Dantos theorical structure based on the concept of transfiguration, for instance. Surprisingly, the analysis of the artwork as a social being based on the concept of Rule, and on the Logical structure related to it, effectively clarifies some thorny topics of contemporary analytical aesthetics, helping us to examine them. So, through this model I can give an interpretation of principles that determine the identity of products. This tool can explain the observed differences between playing a variation of a Sonata, seeing a copy of a painting and listening to (the same) Beethoven's Ninth Symphony. Thanks to this structure we can also grasp under what conditions the Identity of all these things can be preserved (or lost). The aim of this paper is to define the Artwork through its own process to existence. The analysis I proposed shifts the focus from the perceivable external characteristics to the research of a new subject of the Aesthetics investigation. Eventually the purpose is to use this ontological structure as a key to go through the problems related to the contemporary debate on Aesthetics.È consentito all'utente scaricare e condividere i documenti disponibili a testo pieno in UNITESI UNIPV nel rispetto della licenza Creative Commons del tipo CC BY NC ND.
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https://hdl.handle.net/20.500.14239/4876