Aisthesis. Pratiche, linguaggi e saperi dell’estetico <p>Founded in 2008 by Fabrizio Desideri and Giovanni Matteucci, «Aisthesis. Pratiche, linguaggi e saperi dell’estetico» is a peer-reviewed Open Access Journal whose focal aim is to promote interdisciplinary and transcultural research and debate in Aesthetics and the arts. Transcending traditional subject boundaries and understanding the notion of "aesthetic" as a pervasive component of human cultures and life forms, Aisthesis innovatively integrates a major focus on the intersection between aesthetics and the contemporary sciences (biology, psychology, neurosciences) with an in-depth interest in the history of the discipline, its leading classics and great metaphysical questions.</p> <p>The journal appears biannually, in spring and autumn, and welcomes insightful academic articles and timely book reviews. Each issue includes a thematic cluster and a miscellany; call for papers are regularly announced on the journal website. "Aisthesis" is indexed, among others, in The Philosopher's Index, SCOPUS, PhilPapers, Google Scholar, and WoS Clarivate.</p> <p><strong>Editor in Chief</strong></p> <p>Prof. Fabrizio Desideri, University of Florence, Italy</p> Firenze University Press en-US Aisthesis. Pratiche, linguaggi e saperi dell’estetico 2035-8466 <p>Authors retain the copyright and grant the journal right of first publication with the work simultaneously licensed under a <strong>Creative Commons Attribution 4.0 International Public License (<a href="">CC-BY-4.0</a>)</strong>&nbsp;that allows others to share the work with an acknowledgment of the work's authorship and initial publication in Aisthesis.</p> <p><a href="" rel="license"><img src="" alt="Creative Commons License"></a><br>This work is licensed under a <a href="" rel="license">Creative Commons Attribution 4.0 International License</a></p> What can we learn from philosophical manuscripts and archives? <p>.</p> Benedetta Zaccarello Copyright (c) 2020 Benedetta Zaccarello 2020-12-18 2020-12-18 13 2 3 8 10.13128/Aisthesis-12379 The Autographic Stance. Benjamin, Wittgenstein and the Re-Shaping of the Philosophical Opus. About Manuscripts, Fragments, Schemes, Sketches and Annotations <p>Starting from the peculiar tension between figure and writing in Walter Benjamin’s philosophical thought, my contribution aims to define the relevance of manuscripts, schemes, fragments and annotations for the definition of philosophical textuality. Analyzing Benjamin’s writings belonging to this genre (for example, the preparatory works for the essay dedicated to Goethe’s Elective Affinities or for the essay on Kafka), as well as the fragmentary observations belonging to Novalis’ <em>Allgemeines Brouillon</em> and Nietzsche’s <em>Posthumous Fragments</em>, the processual dimension of philosophical thinking will be emphasized. In this theoretical context the processual moment of textuality can be put in tension with the moment defined by the work in its insular completeness. Finally, one wonders if the most appropriate form of philosophical thought in our era of digital production and transmission of knowledge does not really lie in the flow dynamics of textuality. In conclusion, it will remain to be clarified how the autographic moment of philosophy can be thought of in the digital age of knowledge. To this last extent, a good example would be eventually given by Walter Benjamin’s archive in Berlin that contains in fully digitalized form both edited texts and manuscripts.</p> Fabrizio Desideri Copyright (c) 2020 Fabrizio Desideri 2020-12-18 2020-12-18 13 2 9 15 10.13128/Aisthesis-12086 Baudelaire Laboratory. Brief History of a Project by Walter Benjamin <p>The article intends to retrace, from a historical-philological point of view, the main steps of Walter Benjamin’s unfinished research and works, conducted during his later years, dedicated to Charles Baudelaire. Setting Benjamin’s translation of the <em>Ta-bleaux parisiens</em> as the first result of his interest for the poet, the text delves into the composition process of <em>The Arcades Project</em>, from which the idea of a book on Baudelaire then takes shape. The article examines the crucial stages of this second project’s development through the correspondence between Benjamin and Theodor Adorno and Max Horkheimer especially: from the 1935 <em>exposé</em> for <em>The Arcades Project</em> to <em>The Paris of the Second Empire in Baudelaire</em>, to the 1939 essay <em>On some Motifs in Baudelaire</em>. The focus is set, in particular, on the dialectical-constructive method that guides Benjamin in the composition both of the <em>Passagen-Werk</em> as of the <em>Baudelaire-Buch</em> and the essays. Finally, the article looks back over the transmission history of the project on Baudelaire, intimately bound to the one of the <em>Passagenarbeit</em>: the vicissitudes and findings of various manuscripts, of which the complete restitution of the <em>Kritische Gesamtausgabe</em> is soon expected. Therefore, the peculiar relationship between philology and philosophy of Benjamin’s experimental method is then examined further in depth; the configuration of the research object’s <em>monadic structure</em> according to a <em>historical perspective</em>, albeit in the context of a work that remained unfinished.</p> Marina Montanelli Copyright (c) 2020 Marina Montanelli 2020-12-18 2020-12-18 13 2 17 29 10.13128/Aisthesis-12087 Silence, in the Archives: Derrida’s Other Marx(s) <p class="p1">The idea that Derrida kept silent on Marx before the publication of <em>Spectres de Marx</em>, in 1993, has become a commonplace in Derrida studies and in the history of Marxism and French 20<sup>th</sup> century political thought. This idea has often been accompanied by a certain representation of the relationship (or absence thereof) between deconstruction and dialectical materialism, and fed the legend of deconstruction’s «apoliticism» – at least before what some have called Derrida’s «ethicopolitical turn», usually dated in the early 1990s. Against this narrative, this essay analyzes Derrida’s notorious «silence on Marx» before <em>Specters of Marx</em> from the perspective of the archives. Archival research transforms the narrative: Derrida’s «silence on Marx» was only «relative». Beyond the scene of publications, archives reveal <em>another</em> <em>scene</em>: multiple engagements with Marx and Marxist thought, marked and remarked in many archival documents – more particularly in a series of early seminar notes from the 1960s and 1970s. How does this archival scene transform our interpretation of Derrida’s «silence»?</p> Thomas Clément Mercier Copyright (c) 2020 Thomas Clément Mercier 2020-12-18 2020-12-18 13 2 31 46 10.13128/Aisthesis-11839 Interminable readings. Jacques Derrida between archive and dissemination <p class="p1">The paper seeks to outline the relationship between <em>Geschlecht III </em>and Derrida’s published texts devoted to the mark «Geschlecht» in order to detect the general strategy followed by Jacques Derrida into the construction of his archive during his lifetime. Indeed, we suppose that his archive has to be build in accordance with his deconstructive statements about the classical conception of the archive: a totalizing closure of a textual production able to trace it back to the unity of an ideal identity. In particular, the paper aims to focus on a passage at the end of Jacques Derrida’s <em>Geschlecht III</em>, where the question of the animal in Heidegger comes in the foreground and in a way that is slightly different from what we already know through Derrida’s published Works and could impose a re-reading of its «entire» work.&nbsp;</p> Francesco Vitale Copyright (c) 2020 Francesco Vitale 2020-12-18 2020-12-18 13 2 47 57 10.13128/Aisthesis-11766 Gebäude auf Abbruch? The digital archive of Kant’s Opus postumum <p class="p1">Over two hundred years after Immanuel Kant’s death, the first full, critical, and digital edition of his last manuscript is currently being completed by the <em>Berlin-Brandenburgische Akademie der Wissenschaften</em>. This edition stands in institutional continuity with Wilhelm Dilthey’s monumental <em>Akademieausgabe</em> of Kant’s writings that was grounded in Dilthey’s lastingly influential concept of the national, literary-philosophical archive. The new edition showcases Kant’s dynamic writing process as a matter of investigation in its own right. As I argue here, it brings into view the constitutive role of the archive for both texts and interpretative practices. A historical perspective that links the legacy of the <em>Akademieausgabe</em> with the digital edition of the <em>Opus postumum</em> highlights the changing role of the archive in emphasising or de-emphasising the manuscript’s resistance to certain appropriations and stylisations of Kant as a thinker.</p> Daniela Helbig Copyright (c) 2020 Daniela Helbig 2020-12-18 2020-12-18 13 2 59 77 10.13128/Aisthesis-11869 Developing Digital Technology at the Husserl Archives. A Report <p class="p1">After a brief introduction to the history of the Husserl Archives I focus on the methodological specificities in studying Husserl’s work on the basis of his manuscripts and of his archives. In a second step I expound on the effects that the current shift from an analogous to a hybrid analogous and digital archives is producing in the self-understanding of the practices of our institution. Particularly, developing digital technology means that the Husserl Archives are entering a new phase in respect to how archival and editorial impulses will affect the presentation of Husserl’s writings. Finally, I offer some perspectives about how the planned virtual platform («digitalHusserl»), which will give direct access to his manuscripts, is designed to promote a new understanding of Husserl’s specific process of philosophical writing, of his unique <em>wording of thoughts</em>.</p> Emanuele Caminada Copyright (c) 2020 Emanuele Caminada 2020-12-18 2020-12-18 13 2 79 86 10.13128/Aisthesis-12161 Rereading Frantz Fanon in the light of his unpublished texts <p class="p1">Frantz Fanon (1925-1961) is principally known as a great theoretician of race relations and decolonization, in particular through the two main books he published during his lifetime <em>Black Skin, White Masks </em>(1952) and <em>The Wretched of the Earth </em>(1961). What is less known is that he was in parallel a pioneering psychiatrist and an early and recognized theoretician of ethnopsychiatry. A volume of about a thousand pages of texts either difficult to access or presumed lost was recently published, following more than a decade of research in archives located in different parts of the world. It reveals first the importance and originality of his thought as a scientist, and secondly the importance of this dimension of his work for the understanding of his political texts. This is shown on two points: 1) the role of violence in the decolonization process, when compared with Fanon’s texts on psychiatric internment, the phenomenon of agitation and the alternative model of social therapy and 2) the use of «identity» as cultural foundation for newly decolonized states, which he strongly criticised, when compared with Fanon’s systematic questioning of any personal «constitution» in his psychiatric and ethnopsychiatric work.&nbsp;</p> Jean Khalfa Copyright (c) 2020 Jean Khalfa 2020-12-18 2020-12-18 13 2 87 96 10.13128/Aisthesis-12030 In the name of the Author: The artificial unity of Jan Patočka’s scattered works <p class="p1">At the time of his sudden death in 1977, the Czech philosopher Jan Patočka left a large philosophical legacy with no will and testament. For the last 43 years, the editors of his <em>Collected Works</em> have been reconstructing a&nbsp;unified and thematically articulated <em>oeuvre</em> from the more than 10,000 pages found in his drawers and boxes<em>. </em>It should in the end include not only the texts published during Patočka’s lifetime but also his many unpublished manuscripts, fragments, variations, drafts of unfinished philosophical projects, notebooks and letters. After demonstrating in which sense the death of the <em>author</em> coincides in Patočka’s case with the birth of his <em>oeuvre</em>, the article aims to show that the unity of Patočka’s work is not something given, but rather something to be artificially reconstructed, in an always disputable fashion, since the internal coherence of its various thematic divisions is necessarily itself a matter of ongoing interpretation.</p> Ondřej Švec Copyright (c) 2020 Ondřej Švec 2020-12-18 2020-12-18 13 2 97 107 10.13128/Aisthesis-11836 A Typology of the Philosopher Ludwig Wittgenstein’s Writing of Text Alternatives <p class="p1">The paper describes the philosopher Ludwig Wittgenstein’s writing of text alternatives as it manifests itself in his manuscripts. Decided, undecided and cancelled alternatives are distinguished. Moreover, Wittgensteinian types of marking his text alternatives are described: this includes marking by writing the alternative phrase in parallel above line; marking change of order; separation markers; explicit comment; marking the alternative phrase by putting it between brackets or, most famously, double slashes. Finally, the phenomenon of bound text alternatives in Wittgenstein’s writings is discussed.</p> Alois Pichler Copyright (c) 2020 Alois Pichler 2020-12-18 2020-12-18 13 2 109 118 10.13128/Aisthesis-11166 On archives, on an archive. The “Foucault exception”? <p class="p1">Is there a specificity peculiar to the “Foucault archives” that makes them a sensitive object for philosophical and critical thought today? Can we use the “Foucault case” to reflect more broadly on the question of the philosophical archive / archives – what does the creation of archives for philosophers imply in terms of the reception and re-actualisation of their thought? In this article, we will start with a description of the multiple Foucault archives existing today and the history of their composition, as well as an initial discussion of their possible uses. We would then like to start from the concrete, material experience of the archives in order to ask a question that is more than methodological, ethico-political: would there be a “good use” (and therefore a “bad use”) of the archives of and by philosophers? More specifically, is there a “Foucaultian exception” which would require the Foucaultian, and probably philosophical, archives to be used in a broad sense, in a “different” way? We will plead for the construction of an ethic which is rather an “aesthetic” of the philosophical archives: the ability to bring out through the work on archives not something like “the good and true identity” of their author, but points of diffraction, unexpected faces, new writings.</p> Arianna Sforzini Copyright (c) 2020 Arianna Sforzini 2020-12-18 2020-12-18 13 2 119 129 10.13128/Aisthesis-12053 The Genesis of a Philosophical Poem: Sri Aurobindo, World Literature and the Writing of Savitri <p class="p1">Philosophical poetry has had a long and distinguished history in different cultural traditions. These traditions have always interacted to some extent, but today the barriers between them have largely broken down. Savitri, an epic in English by the early twentieth-century Indian philosopher and poet Sri Aurobindo, is a notable outcome of the confluence of Eastern and Western civilisations. Based on a creative reworking of a legend from the Sanskrit epic, the Mahābhārata, it incorporates in its neo-Vedantic vision aspects of the worldviews represented by the great philosophical poems of ancient, medieval and modern Europe. As vast in scope as any of these works, Savitri took shape over much of the poet’s life in a way comparable to Goethe’s Faust. A study of the stages of its composition reveals much about the author’s artistic, intellectual and spiritual development and gives insight into the poem’s autobiographical dimension.</p> Richard Hartz Copyright (c) 2020 Richard Hartz 2020-12-18 2020-12-18 13 2 131 142 10.13128/Aisthesis-11584 Eternal Truth and the Mutations of Time: Archival Documents and Claims of Timeless Truth <p class="p1">Philosophical texts regarded as «inspired» present special difficulties for textual editors and intellectual historians that can be mitigated by the study of archival documents. The works of the philosopher and <em>yogī</em> Aurobindo Ghose are considered important contributions to twentieth-century Indian literature and philosophy. Some of his followers regard them as inspired and therefore not subject to critical study. Aurobindo himself accepted the reality of inspiration but also thought that inspired texts, such as the <em>Bhagavad Gītā</em>, contain a temporal as well as an eternal element. Aurobindo’s papers are preserved in the Sri Aurobindo Ashram Archives, which took shape during the 1970s. Editions of Aurobindo’s books published between his death in 1950 and 1977 were issued without consulting his manuscripts, early editions, etc., and therefore contain transmission errors, subjective emendations, etc. The editors of texts issued after 1977 followed the established methodology of textual criticism and so eliminated many obvious errors. Some of Aurobindo’s readers refused to accept the new editions, and agitated for the restoration of the earlier texts, going so far as to file legal cases against the editors and the administrators of his ashram or spiritual community. A nuanced approach to the editing of texts regarded by some as inspired must take the sentiments of readers into consideration while insisting on scholarly rigour.</p> Peter Heehs Copyright (c) 2020 Peter Heehs 2020-12-18 2020-12-18 13 2 143 153 10.13128/Aisthesis-11502 Dissonances of a Modern Medium. Alienating and Integrating Aspects of Photography <p class="p1">Does photography in its various facets lead to alienation or integration? This article is based on a Eurasian survey among photography students from India and Europe. After working definitions of the central terms, it looks at aspects that students have mentioned in connection with alienation – including the view of photography as a barrier or intruder and the adoption of an external perspective on the own culture through photography, up to an individual escape through photography. With regard to integration, photography can open the gates to new experiences and allow growth and identity work, offer a common form of expression and go hand in hand with empathy and knowledge, which matches some aspects of Indian art theory. All in all, the answers of the Indian and European students were quite similar. It turns out that the more reflected people are about photography, the more they can benefit from it.</p> Maja Jerrentrup Copyright (c) 2020 Maja Jerrentrup 2020-12-18 2020-12-18 13 2 155 168 10.13128/Aisthesis-11864 Early Modern Aesthetics: Antony and Cleopatra and the Afterlife of Domination <p class="p1">This essay argues that <em>Antony and Cleopatra</em>’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The protest, the passion and singularity, lives mainly through its expressive emphases – such as hyperbole – and the re-functioning of the very dominative roles and norms being opposed. This reflects the restricted but critical – aesthetic – status of early modern drama, and specifies its opposition to the deepening attack on sensate knowing in its world.</p> Nigel Mapp Copyright (c) 2020 Nigel Mapp 2020-12-19 2020-12-19 13 2 169 184 10.13128/Aisthesis-11728 The map: a medium of perception. Remarks on the relationship between space, imagination and map from Google Earth <p class="p1">Starting from the concept of Digital Earth, the article questions the effects that Google’s geo-spatial applications have produced on our daily relationship with information, and the way we experience the spaces around us. Its aim is twofold: on the one hand, I intend to examine the implications that bring Google’s digital maps closer to the invention of the print or telescope; on the other hand, I intend to explain, through a medio-anthropological investigation, how the map, as a medium of perception, falls not only de facto, but also de jure, into the field of aesthetics.</p> Tommaso Morawski Copyright (c) 2020 Tommaso Morawski 2020-12-19 2020-12-19 13 2 185 197 10.13128/Aisthesis-11219 Review Mariagrazia Portera Copyright (c) 2020 2020-12-18 2020-12-18 13 2 199 206 10.13128/Aisthesis-11602