BIO ITA by Giacomo Fronzi
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BIO EN by Giacomo Fronzi
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Books by Giacomo Fronzi
An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different fi... more An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a world from which people generally prefer to keep away because it seems distant, complicated and incomprehensible. But is it really so?
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.
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The musical universe of the 20th and 21st centuries is a force-field in which styles, instruments... more The musical universe of the 20th and 21st centuries is a force-field in which styles, instruments, personalities and stories can be found that are ascribable to conceptual frameworks that may differ greatly one from another. Such complexity cannot be traced back to single theories or all-encompassing interpretations, but may be tackled, philosophically, starting from certain characteristics. This book identifies nine such characteristics: namely, Extremes, Noise, Silence, Technology, Audience, Listening, Freedom, Disintegration, and New Media. Each of these permits us to open up unforeseen philosophical-cultural paths and interpret, in its multifarious variety, the developments of contemporary music, profoundly interwoven with the history of thought, culture and society.
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For a long time forgotten, in the last few years dialectical thinking has been paid again great a... more For a long time forgotten, in the last few years dialectical thinking has been paid again great attention. In recent times dialectics has been resumed by and applied to philosophical debates in the Anglo-American scene, as the influential examples of John McDowell and Robert Brandom clearly show. Furthermore, it seems that dialectics is enjoying today widespread appreciation even outside of the specific domain of philosophy, as testified by some developments in the human sciences and, for example, in the realm of psychotherapy with the creation of “Dialectical Behavior Therapy” (DBT) by Marsha M. Linehan.
Among the main protagonists of contemporary philosophy who carefully and intensely dealt with dialectics, Theodor W. Adorno must be surely mentioned. In the last decade, the in-ternational philosophical community seems to have realized again how important and indeed essential his theoretical contribution has been and still is. The publication of previously unpublished writings of the Frankfurter thinker, edited by the Theodor W. Adorno Archiv, has probably contributed to the renewed interest in Adorno’s philosophy. Among these unpublished works, some of his lec-ture courses are of greatest importance, such as those on Aesthetics (1958-59), on Kant’s Critique of Pure Reason (1959), on the Problems of Moral Philosophy (1963), and on Metaphysics (1965). The aim of this issue of “Discipline filosofiche” is to explore how Adorno contributed to the development of dialectical thinking by outlining an original kind of negative dialectics; and in particular to analyze the decisive role played by the question concerning truth that Adorno also (but not only) explored with regard to the “truth content” of art, and always (i.e. even outside of aesthetic theory) with reference to the fundamental “enigmatic character” of truth.
Contents:
- Giovanni Matteucci, Stefano Marino, Presentazione
- Stefano Marino, Giovanni Matteucci, The Dark Side of the Truth. Nature and Natural Beauty in Adorno
- Josef Fruchtl, Tell Me Lies, and Show Me Invisible Images! Adorno’s Criticism on Film – Revisited
- Tom Huhn, The Enigma of Experience; Art and Truth Content
- Giuseppe Di Giacomo, Form, Appearance, Testimony: Reflections On Adorno’s Aesthetics
- Samir Gandesha, Adorno’s Reading of Endgame: Between Autonomy and Authenticity
- Fabrizio Desideri, Ratio, Mimesis, Dialectics: On Some Motifs in Theodor W. Adorno
- Giovanni Zanotti, Contingent Antagonism. A Key to Adorno’s Dialectic
- Paolo A. Bolaños, The Promise of the Non-Identical: Adorno’s Revaluation of the Language of Philosophy
- Filippo Costantini, Cosa mostra la dialettica? Contraddizione, negazione e non identità in Hegel e Adorno
- Giacomo Fronzi, Dialettica negativa, metafisica e intersoggettività. Una lettura relazionale del pensiero di Th.W. Adorno
- Pietro Terzi, Critica e decostruzione dell’immediato. Adorno e Derrida di fronte a Husserl
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Papers by Giacomo Fronzi
Idee Rivista Di Filosofia, 2008
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Idee Rivista Di Filosofia, 2008
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Idee, 2005
Le questioni attorno alla scrittura, allo stile e alle scelte linguisticoformali1 nei testi filos... more Le questioni attorno alla scrittura, allo stile e alle scelte linguisticoformali1 nei testi filosofici richiamano, per la loro complessità, una serie di aspetti e di problemi affatto centrali per la riflessione contemporanea, che fuoriescono dal ristretto ambito della didattica della ...
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Idee, 2005
Le questioni attorno alla scrittura, allo stile e alle scelte linguisticoformali1 nei testi filos... more Le questioni attorno alla scrittura, allo stile e alle scelte linguisticoformali1 nei testi filosofici richiamano, per la loro complessità, una serie di aspetti e di problemi affatto centrali per la riflessione contemporanea, che fuoriescono dal ristretto ambito della didattica della ...
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The title of this paper may seem over-ambitious and particularly broad in relation to its potenti... more The title of this paper may seem over-ambitious and particularly broad in relation to its potential scope. What I will try to do then is to put in order some of the issues raised by the words in the title, namely the relationship between aesthetic experience and contemporary music (which refers to the theme of the aesthetic experience of – and with – contemporary music) and its “places”, understood as the contexts in which that experience tends to manifest itself and through which mediums. It is not a question of formulating a sort of “topology” of contemporary music, but rather of verifying whether there has been, particularly with the introduction into the world of music of new technological and digital means, a shift or an overlap of different places of use.
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The way of understanding and "doing" aesthetics has recently changed. Once focused exclusively on... more The way of understanding and "doing" aesthetics has recently changed. Once focused exclusively on the arts and, at most, on landscape, aesthetics has begun to dialogue with other disciplines: philosophy of mind, anthropology, psychology , economics. This paper intends to explore a new relationship between aesthetics and marketing, in the light of those elements which motivate its possible organization. On the one hand, marketing proves to be an interesting field through which aesthetic categories can be verified and applied. On the other, aesthetics, which has been for centuries linked to the category of "disinterestedness", finds in marketing a field of analysis which is new and traditionally considered antithetical to it.
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In this paper I will focus attention on that particular case of integration between formal proble... more In this paper I will focus attention on that particular case of integration between formal problems and theoretical issues, between linguistic choices and methodological assumptions, which is found in Theodor W. Adorno. Adorno’s writings, in fact, represent an unusual example of combination between written expression and thought, between formal framework (which includes both form in its strictest sense and writing and language) and theoretical background. Critical attitude, conceptual analysis and stylistic choices ultimately converge in philosophical thought and practice.
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Adorno and Popular Music. A Constellation of Perspectives, 2019
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BIO ITA by Giacomo Fronzi
BIO EN by Giacomo Fronzi
Books by Giacomo Fronzi
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.
Among the main protagonists of contemporary philosophy who carefully and intensely dealt with dialectics, Theodor W. Adorno must be surely mentioned. In the last decade, the in-ternational philosophical community seems to have realized again how important and indeed essential his theoretical contribution has been and still is. The publication of previously unpublished writings of the Frankfurter thinker, edited by the Theodor W. Adorno Archiv, has probably contributed to the renewed interest in Adorno’s philosophy. Among these unpublished works, some of his lec-ture courses are of greatest importance, such as those on Aesthetics (1958-59), on Kant’s Critique of Pure Reason (1959), on the Problems of Moral Philosophy (1963), and on Metaphysics (1965). The aim of this issue of “Discipline filosofiche” is to explore how Adorno contributed to the development of dialectical thinking by outlining an original kind of negative dialectics; and in particular to analyze the decisive role played by the question concerning truth that Adorno also (but not only) explored with regard to the “truth content” of art, and always (i.e. even outside of aesthetic theory) with reference to the fundamental “enigmatic character” of truth.
Contents:
- Giovanni Matteucci, Stefano Marino, Presentazione
- Stefano Marino, Giovanni Matteucci, The Dark Side of the Truth. Nature and Natural Beauty in Adorno
- Josef Fruchtl, Tell Me Lies, and Show Me Invisible Images! Adorno’s Criticism on Film – Revisited
- Tom Huhn, The Enigma of Experience; Art and Truth Content
- Giuseppe Di Giacomo, Form, Appearance, Testimony: Reflections On Adorno’s Aesthetics
- Samir Gandesha, Adorno’s Reading of Endgame: Between Autonomy and Authenticity
- Fabrizio Desideri, Ratio, Mimesis, Dialectics: On Some Motifs in Theodor W. Adorno
- Giovanni Zanotti, Contingent Antagonism. A Key to Adorno’s Dialectic
- Paolo A. Bolaños, The Promise of the Non-Identical: Adorno’s Revaluation of the Language of Philosophy
- Filippo Costantini, Cosa mostra la dialettica? Contraddizione, negazione e non identità in Hegel e Adorno
- Giacomo Fronzi, Dialettica negativa, metafisica e intersoggettività. Una lettura relazionale del pensiero di Th.W. Adorno
- Pietro Terzi, Critica e decostruzione dell’immediato. Adorno e Derrida di fronte a Husserl
Papers by Giacomo Fronzi
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.
Among the main protagonists of contemporary philosophy who carefully and intensely dealt with dialectics, Theodor W. Adorno must be surely mentioned. In the last decade, the in-ternational philosophical community seems to have realized again how important and indeed essential his theoretical contribution has been and still is. The publication of previously unpublished writings of the Frankfurter thinker, edited by the Theodor W. Adorno Archiv, has probably contributed to the renewed interest in Adorno’s philosophy. Among these unpublished works, some of his lec-ture courses are of greatest importance, such as those on Aesthetics (1958-59), on Kant’s Critique of Pure Reason (1959), on the Problems of Moral Philosophy (1963), and on Metaphysics (1965). The aim of this issue of “Discipline filosofiche” is to explore how Adorno contributed to the development of dialectical thinking by outlining an original kind of negative dialectics; and in particular to analyze the decisive role played by the question concerning truth that Adorno also (but not only) explored with regard to the “truth content” of art, and always (i.e. even outside of aesthetic theory) with reference to the fundamental “enigmatic character” of truth.
Contents:
- Giovanni Matteucci, Stefano Marino, Presentazione
- Stefano Marino, Giovanni Matteucci, The Dark Side of the Truth. Nature and Natural Beauty in Adorno
- Josef Fruchtl, Tell Me Lies, and Show Me Invisible Images! Adorno’s Criticism on Film – Revisited
- Tom Huhn, The Enigma of Experience; Art and Truth Content
- Giuseppe Di Giacomo, Form, Appearance, Testimony: Reflections On Adorno’s Aesthetics
- Samir Gandesha, Adorno’s Reading of Endgame: Between Autonomy and Authenticity
- Fabrizio Desideri, Ratio, Mimesis, Dialectics: On Some Motifs in Theodor W. Adorno
- Giovanni Zanotti, Contingent Antagonism. A Key to Adorno’s Dialectic
- Paolo A. Bolaños, The Promise of the Non-Identical: Adorno’s Revaluation of the Language of Philosophy
- Filippo Costantini, Cosa mostra la dialettica? Contraddizione, negazione e non identità in Hegel e Adorno
- Giacomo Fronzi, Dialettica negativa, metafisica e intersoggettività. Una lettura relazionale del pensiero di Th.W. Adorno
- Pietro Terzi, Critica e decostruzione dell’immediato. Adorno e Derrida di fronte a Husserl
The relationship between “freedom” and “art” may seem obvious, first of all because it is constitutive of the creative and productive moment of art. From a social point of view, the artist enjoys a high degree of free- dom and almost complete independence in the context of his profession. However, in some cases, the exercise and practice of freedom in art mean (or have meaning) much more than simply art freedom, going beyond itself. Often, freedom in art becomes the way to affirm denied rights, to achieve a higher degree of “humanity”. However, it is a matter of identi- fying a representative model of what has just been said, a figure capable of restoring this idea of art freedom that overcomes the confines of itself and interacts with the surrounding world, trying to influence its develop- ment. In these pages I will try to verify the thesis that the freedom of art has much to do with human freedom and demonstrate how this model can be embodied by Thelonious Monk.