Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, in particular to (...) his Notebooks, Bartalesi and Portera attempt to provide an alternative explanation for the emergence and development of human aesthetic preferences, beyond the dichotomy of nature and culture. (shrink)

Étienne Souriau was a refined and demanding thinker, with an aristocratic demeanour, far removed from the currents of ideas dominant in his time. A difficult and erudite author, out of tune with the times he lived in, he would seem the least likely candidate to appeal to a hurried and globalised public like that of the twenty-first century. A sophisticated representative of a rationalist positivism, no stranger to the Husserlian canon and not even insensitive to the motivations dear to the (...) gnoseological debate of Cartesian and Kantian matrix (as well as to the major themes of classical metaphysics), Souriau pursues the ideal of a constructive philosophy, capable of understanding – and at the same time favouring – the advancement of the creative process conceived as a set of poetic acts and progressive dynamic operations. In his texts, Souriau is attentive to grasping the correspondences, exchanges and reciprocal transitions between one mode of existence and another, as well as the resonances between the various art forms in the different fields of knowledge, testing an original method that is epistemologically very fruitful. The aim of this monographic issue of Aisthesis dedicated to Étienne Souriau is to explore his thought in its multiple aspects, in order to measure its topicality in relation to the themes and problems that characterise contemporary philosophical debate, with particular reference to aesthetics and ontology as well as to the dense network of connections between the two fields. One of the most interesting characteristics of Souriau’s thought that has stood the test of time would appear to be its multifacetedness: the quality of lending itself to being applied even to spheres that are apparently very distant from reflection on art, such as cultural anthropology, political philosophy or morality. It seemed to us that it largely owes its relevance precisely to the intersections between one field of knowledge and another. The issue contains twelve contributions on Souriau that explore his main aspects in depth. They range from analyses devoted to the architecture of Souriau’s thought (his general philosophy) in the essays by Dominique Chateau and Filippo Domenicali, which can furnish a useful overall picture of the man, to essays that attempt to focus on the more properly ontological core of this thought, such as those devoted to the arabesque motif (Luigi Azzariti-Fumaroli), the theory of the soul (Sjoerd Van Tuinen) or the multiplicity of worlds (Noëlie Plé). Interspersed between these are contributions that focus more on the comparison between Étienne Souriau’s thought and the philosophers of his time, such as Dufrenne (Maryvonne Saison), or with well-known later philosophers who explicitly referred to him, prolonging his creative impetus, such as Gilles Deleuze (Casey Boyle) and Bruno Latour (Aline Wiame), the true architect of the current Souriau “comeback”. Finally, in addition to essays of a more theoretical nature, there are contributions that attempt to re-evaluate certain aspects of Souriau’s aesthetics, such as the fruitfulness of the cues that can come from his thought for the debate on animal aesthetics (Maddalena Mazzocut-Mis and Andrea Scanziani), or the possible topicality of his theory of forms (Isabelle Rieusset-Lemarie). In the “Miscellaneous” section, this issue hosts a number of studies that aim to explore the aesthetic implications of new technologies, the themes of ecological aesthetics, as well as to offer an unusual profile of Baumgarten. (shrink)

Evolutionary Aesthetics emerges today as a young and lively field of studies whose main aim is to rethink the traditional questions of philosophical Aesthetics in the light of biological theories, in particular in the light of Darwin's evolutionary theory by means of natural selection. The aim of this issue is to introduce Evolutionary Aesthetics into the Italian philosophical debate. Contributions collected cover almost entirely the lively, multifaceted spectrum of the discipline: 1) the high-debated question of the adaptive value of aesthetic (...) sense, artistic practices and art fruition (Stephen Davies, Zach Norwood, Joseph Carroll); 2) the evolutionary explanation of human sexual preferences and production of artefacts (Hannes Rusch & Eckart Voland); 3) the possibility for a Darwinian non-reductionist definition of art as a culturally differentiated behavior (Kathryn Coe; Nancy E. Aiken; Roberta Dreon); 4) a comparative analysis of aesthetic experience from a cognitive viewpoint (Gianluca Consoli) and from a morphological one (Salvatore Tedesco); 5) the influence of Darwinian perspective beyond the English boundaries, with particular reference to the Italian scientific community in the Nineteenth century (Elena Canadelli) and to the tradition of Gestaltpsychologie (Michele Gardini); 6) a naturalistic approach to aesthetic experience and medial experience (Antonino Pennisi & Francesco Parisi). (shrink)

I sorprendenti progressi, sperimentali e teorici, intervenuti negli ultimi tre decenni nelle scienze cognitive, nelle neuroscienze e nella biologia evoluzionistica, impongono all’indagine filosofica l’urgenza di ripensarsi nel suo complesso. In un quadro epistemologico di fondo destinato a rinnovarsi radicalmente, l’estetica rappresenta senza dubbio uno degli ambiti di riflessione più stimolanti. In particolare, i risultati ottenuti dallo studio dei processi cognitivi e neurofisiologici umani...

L’esthétique représente un point névralgique dans l’opposition entre partisans et critiques de la naturalisation. Dans l’article, les positions conflictuelles sont passées en revue en repérant les racines de leur opposition dans l’adoption d’un modèle internaliste d’esprit connexe à une forme radicale de réductionnisme. Une solution est proposée à partir de l’adoption d’une forme modérée de naturalisme anthropologique et d’un modèle d’attitude esthétique capable d’intégrer l’opérativité innée du dispositif esthétique et sa différentiation en conduites culturellement structurées.

From Charles Darwin, the theoretical framework of evolutionary aesthetics is sexual selection. Recent debate focuses the attention particularly on the criterion of female choice. The aim of this article is to sketch a Darwinian way to aesthetics complementary to the one that Darwin himself present in The descent of man (1871). A series of notes in the Darwin's notebooks traditionally known as “ Metaphysical Enquiries ” will constitute the point of departure for a hypothetical reconstruction of evolutionary history of aesthetic.

Kathleen Stock, Only Imagine: Fiction, Interpretation, and Imagination, Oxford University Press, Oxford 2017, 222 pp. Julie Cheminaud, Les évadés de la médecine. Physiologie de l’art dans la France de la seconde moitié du XIXe siècle, Vrin, Paris 2018, 294 pp. Carla Carmona, Jerrold Levinson, Aesthetics, Literature, and Life: Essays in Honor of Jean-Pierre Cometti, Mimesis International, Milan 2019, 220 pp. Report on “Jean Baudrillard, l’intelligence du temps qui vient”, Centre Culturel International de Cerisy, Cerisy, France, 9-16 August 2019.

In spite of the great number of publications, contemporary evolutionary aesthetics seems to have reached deadlock, for the lack of a real epistemological reflection on the theoretical nucleus of its own experimental investigations. Starting from an introduction to the current debate, the essay aims to indicate the basic points of a theoretical model able to face speculative risks and methodological complexities of contemporary evolutionary aesthetics. In this very perspective is placed the analysis of Darwin’s sexual paradigm, and the hypothesis of (...) partially revising it in order to extend the notion of aesthetics as an expressive and intrinsically motivated dimension of animal cognition. (shrink)