Giuseppe Di Giacomo

from Wikipedia, the free encyclopedia
This article or section needs to be revised. Details should be given on the talk page. Please help to improve it , and then remove this flag.

Giuseppe Di Giacomo (2019)

Giuseppe Di Giacomo (born January 1, 1945 in Avola , Piedmont ) is an Italian philosopher and writer . He is the author of numerous scientific publications that deal with the relationship between aesthetics and literature as well as the relationship between aesthetics and art, especially in relation to culture and modern contemporary topics such as the image, the representation, the connection between art and life , memory and the concept of testimony.

Life

During his studies, Giuseppe Di Giacomo taught for several months in secondary schools, then at various high schools. He did his PhD in philosophy with Emilio Garroni. In 1976, through an open competition, he was awarded a contract to teach epistemology at the Faculty of Science, Mathematics and Physics at the University of Parma . This contract became a permanent teaching assignment in 1978. Since 1987 he has been a research assistant at the La Sapienza University in Rome , where he became an associate professor in 1993 and a full professor of aesthetics in 2001. At the same university he has been head of the Museo Laboratorio di Arte Contemporanea (MLAC - Museum Laboratory for Contemporary Art) since November 2012 .

He was the coordinator of the Progetti di ricerca diinterest nazionale (PRIN) of the Ministry of Education, Universities and Research . He is a founding member of the Italian Society for Aesthetics (SIE) and is on the scientific advisory board of the following journals:

  • Paradigm
  • Studi di estetica
  • Rivista di estetica
  • Estetica. Studi e ricerche
  • Comprendre. Revista catalana de filosofia

With Claudio Zambianchi he edited the anthology The origins of contemporary art (2008; 4th edition 2012). He is the editor of the Forme del possibile series for the Albo Versorio publishing house in Milan . Estetica, arte, letteratura out.

Teaching

According to Di Giacomo, one should refuse both the interpretation that sees the picture as a mirror of things and the one that sees it only as a self-referential system of signs. From his reading of Ludwig Wittgenstein one concludes that the logical representation is something that shows itself and that implies itself in this showing and in the “other” of the visibility of the representation itself. Thus the picture, in which it presents itself, represents the other of the visible, of the representable: the other that reveals itself in the visible by hiding itself in it. And so it is that the picture becomes an icon of the invisible. However, under the influence of Theodor W. Adorno , the tendency towards loss of figurativity of the picture prevails , as does the continued existence of the same picture; the picture is both a thing and an absurdity: that is the paradox of a real unreality . It refers to the attempt to separate the double-edged nature of the image into the elements that compose it: one part into a readymade , in which the representative dimension dissolves into a mere imaginary dimension, and another part into a mental image, with endowed with weak material support.

Today the images of the new media are images of images; in this sense they are not real images but simulations, simulacra . It is no coincidence that the digital images, as reproductions, have a poor image value; they long to have the appearance of something and therefore lose the connection between transparency and opacity that characterize authentic images. Therefore, the question does indeed arise as to whether the new media are able to achieve real images. In particular, in the type of art that Adorno defines as modern , one finds the overcoming of that great epiphany typical of the icon, where precisely the visible is the place of manifestation of the invisible as the absolute.

The result is then a conception of the image that is conscious of the impossibility of any claim to exhaust the real and reveal the absolute. Such a picture can be inquired about as a witness to something that cannot be translated into pictures; the witness is in fact to say something that cannot be told as a whole. In this sense it does not coincide with memory as conformity to fact; but it is with the lack of memory that we cannot remember or forget as a whole, i.e. H. with something that is neither fully expressible nor inexpressible.

The witness only speaks of the impossibility of speaking. The picture then counts as testimony, and the following means that the attempt to say the unspeakable is an infinite task; in this sense (on this basis) the question of the image participates in the ethical question. This supersedes the fact that in the picture, insofar as there is no consummation, there is no redemption nor reconciliation with respect to reality. From this perspective, looking at the pictures as testimony corresponds to what follows, seeing the pictures as a constant tension between memory and forgetting, and then as an expression of the should-be of meaning in a horizon like the present one, in which more and more both the earth like art on which nonsense seem to be abandoned. This means that in the picture there is no perfection, no redemption and no appeasement for the real. From this point of view, the images always remain unsolved as testimony and as a place of tension.

Main publications

  • Dalla logica all'estetica. Un saggio intorno a Wittgenstein , Pratiche, Parma, 1989.
  • Icona e arte astratta. La questione dell'immagine tra presentazione e rappresentazione , Centro internazionale studi di estetica, Palermo, 1999.
  • Estetica e letteratura. Il grande romanzo tra Ottocento e Novecento , Laterza, Rome-Bari, 1999 (4th ed. 2010).
  • Introduzione a Paul Klee , Rome-Bari, Laterza, 2003.
  • Narrazione e testimonianza. Quattro scrittori italiani del Novecento , Mimesis, Milan-Udine, 2012.
  • Malevič. Pittura e filosofia dall'Astrattismo al Minimalismo , Carocci, Roma, 2014.
  • Fuori dagli schemi. Estetica e arti figurative dal Novecento a oggi , Laterza, Roma-Bari, 2015.

Online publications

Web links

Individual evidence

  1. ↑ See the important study on the relationship between aesthetics and literature Estetica e letteratura. Il grande romanzo tra Ottocento e Novecento
  2. ↑ See "Dalla logica all'estetica", pp. 97-147
  3. ↑ Cf. Alle origini dell'opera d'arte contemporanea. Pp. 203-222.
  4. ↑ See "Astrazione e astrazioni", pp. 11-19
  5. ↑ See "La questione dell'aura tra Benjamin e Adorno", Rivista di Estetica, 52 (1/2013), p. 245
  6. ↑ See "Volti della memoria", pp. 445-481
personal data
SURNAME Di Giacomo, Giuseppe
BRIEF DESCRIPTION Italian philosopher and writer
DATE OF BIRTH January 1, 1945
PLACE OF BIRTH Avola , Piedmont