In this paper I will accept Georg Bertram’s criticism against what he calls the “autonomist paradigm” in philosophy of art and I will follow his theoretical suggestion: a coherent, informed, and accomplished philosophy of art should consider not only the specific nature of art, but also its value for the human practices and as one of the human practices. However, I will show the connection between human practices and art in a different, although related, way. Instead of beginning from a reflection focused on art, I will rather move from the human practices, showing that “art” may be a particular way to look at and to develop human practices. I shall argue that the theoretical link between human practices and art can be provided by the notion of improvisation. Improvisation is not only a particular artistic technique. Rather, improvisation can be more generally understood as the paradigm of art, in the interesting sense, defended by Bertram, of incorporating and showing in a genetic way, on the one hand, the autonomous art specificity and, on the other hand, the value of art, that is, the link between human practices and art as a specific human practice. In this sense, art (as specific human practice) both derives from and is a particular way to improvise (upon) the human practices, i.e. to develop them in ways that can be valuable (both in general and artistically or aesthetically). Accordingly, improvisation as a specific artistic procedure will be understood as that kind of artistic production in which the human practice underlying art comes, as it were, to the fore.

Valore e autonomia dell'improvvisazione. Tra arti e pratiche

Alessandro Bertinetto
2018-01-01

Abstract

In this paper I will accept Georg Bertram’s criticism against what he calls the “autonomist paradigm” in philosophy of art and I will follow his theoretical suggestion: a coherent, informed, and accomplished philosophy of art should consider not only the specific nature of art, but also its value for the human practices and as one of the human practices. However, I will show the connection between human practices and art in a different, although related, way. Instead of beginning from a reflection focused on art, I will rather move from the human practices, showing that “art” may be a particular way to look at and to develop human practices. I shall argue that the theoretical link between human practices and art can be provided by the notion of improvisation. Improvisation is not only a particular artistic technique. Rather, improvisation can be more generally understood as the paradigm of art, in the interesting sense, defended by Bertram, of incorporating and showing in a genetic way, on the one hand, the autonomous art specificity and, on the other hand, the value of art, that is, the link between human practices and art as a specific human practice. In this sense, art (as specific human practice) both derives from and is a particular way to improvise (upon) the human practices, i.e. to develop them in ways that can be valuable (both in general and artistically or aesthetically). Accordingly, improvisation as a specific artistic procedure will be understood as that kind of artistic production in which the human practice underlying art comes, as it were, to the fore.
2018
Improvvisazione
Mimesis
Annuario Kaiak
3
61
88
9788857553245
Improvisation, Philosophy of art, creativity, aesthetics, habits, Human practices, normativity
Alessandro Bertinetto
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2318/1693826
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