Papers by Sara Borriello
Genius civitatis. L'atmosfera monacense tra clima, natura e cultura, in Atmosfere Urbane. Una introduzione, a cura di T. Griffero e A. Petrillo, Edizioni ETS, Pisa 2024, pp. 173-194.
The aim of this article is to examine how weather phenomena affect the landscape, not only in ter... more The aim of this article is to examine how weather phenomena affect the landscape, not only in terms of its visual or geomorphological appearance, but also by modifying the emotional disposition that the landscape evokes. By adopting an atmospheric perspective, I intend to demonstrate that each landscape possesses its own mood (Stimmung), closely linked to the atmospheric-climatic events that unfold within it. My hypothesis is that such phenomena, due to their pervasiveness on a sensory level, can produce a real metamorphosis of the landscape, which also extends to the affective qualities that the landscape ‘radiates’, and which therefore do not primarily depend on the perceiver.
Perhaps no meteorological phenomenon has enjoyed more interest than the wind. Both mutable and am... more Perhaps no meteorological phenomenon has enjoyed more interest than the wind. Both mutable and ambiguous, it has been interpreted in many ways over the centuries. This is particularly evident in the graphic arts, which have employed different strategies of representation.
Taking the neo-phenomenological interpretation of the wind as a ‘quasi-thing’, this paper explores the most common ways of representing this particular phenomenon within the European iconographic tradition, with the aim of identifying those that can best depict it in its quasi-thingly nature. More specifically, this work aims to show that – under certain conditions – painting is not only able to express the particular meteorological and affective nature of the wind, but can also be a useful tool for shedding light on the so-called theory of atmospheres, which are themselves grounded in the thesis of the spatiality of feelings.
With the help of a few examples from modern and contemporary painting, in which the wind finds its place as an aesthetic phenomenon, this paper outlines the possible characteristics of an atmospheric art in which the phenomenon is represented in all its affective power. Such art discloses or emphasizes the affective influence that phenomena such as the wind can exert on us, radically altering our sensory relationship with the world.
This paper focuses on two aspects of Maximilian Beck's philosophical reflection: his adherence to... more This paper focuses on two aspects of Maximilian Beck's philosophical reflection: his adherence to naive (phenomenological) realism and his claim to the autonomous existence of the affective qualities of the objectual world. Therefore, my contribution will be structured as follows: after a brief overview of Beck's defence of naive realism (§2), I will attempt to show how, in his opinion, the affective qualities characterizing the world (i.e., the places and things we encounter) are in principle independent of the perceiver, possessing an objectivity of their own. It is pertinent to mention here that Beck calls these affective qualities "objective moods" (objektive Stimmungen) (§3). After that, I will try to illustrate the "externalist" aspects of Beck's theory of the apprehension of Stimmungen, highlighting its differences from the "projective empathy" theses that were circulating at the time, particularly in the version proposed by Theodor Lipps (§4). In the final section, I will present two arguments that Beck puts forward in support of his theory of the objectivity of the Stimmungen (§5).
Klima, Landschaft und Stadt. Klages‘ Weg zu den Atmosphären, in Ludwig Klages und die Neue Phänomenologie, hrsg. von M. Großheim und D. Smiljanic, Nomos Verlag, Baden-Baden 2024, pp. 259-290.
• L'articolo si propone di indagare la concezione dei sentimenti (Gefühle) che Ludwig Klages, pen... more • L'articolo si propone di indagare la concezione dei sentimenti (Gefühle) che Ludwig Klages, pensatore sui generis all'interno del panorama intellettuale del suo tempo, ha abbozzato all'interno della sua "fenomenologia" di stampo antipsicologista. Per fare ciò, si inizierà con il tracciare una breve panoramica del suo pensiero, fondato sulla dicotomia animaspirito (Seele-Geist) e radicato in una concezione patico-ricettiva della soggettività. Il contributo proseguirà con un approfondimento sul concetto di Eros, definito da Klages "elementare" e "cosmogonico", che costituisce un caposaldo del suo impianto metafisico. Uno degli obiettivi del lavoro sarà quello di illustrare le ragioni per cui proprio l'Eros, nella sua assoluta centralità e unicità, appaia molto diverso da qualunque altro sentimento, non lasciandosi affatto comprendere mediante le stesse categorie atte a descrivere i Gefühle. Infine, attraverso l'analisi di affinità e differenze tra l'Eros e gli altri sentimenti, si cercherà di mostrare come Klages riservi uno spazio del tutto peculiare alla sfera dell'affettività, assegnandole di fatto una funzione ontologica fondamentale all'interno della sua filosofia.
Lebenswelt. Aesthetics and philosophy of experience.
Conference Announcement by Sara Borriello
Books by Sara Borriello
Mai prima d’ora la questione climatica ha ricevuto tanta attenzione da parte sia della comunità s... more Mai prima d’ora la questione climatica ha ricevuto tanta attenzione da parte sia della comunità scientifica sia dell’opinione pubblica. Andando oltre il tema dell’emergenza climatica, questo libro presenta un contributo trasversale al dibattito odierno, indagando in chiave estetologica la relazione sussistente tra l’uomo e l’ambiente e concependo il clima non più come un elemento di contorno subordinato al nostro dominio teoretico e pratico, bensì come una dimensione imprescindibile e massimamente pervasiva dell’esistenza umana, in grado di influenzare il nostro modo di relazionarci ai luoghi, nonché le nostre propensioni, attitudini e disposizioni d’animo. Con uno sguardo retrospettivo alle teorie climatologiche del passato, nonché alla tradizione fenomenologico-gestaltica sulle qualità espressive, l’autrice propone una fenomenologia meteo-climatica basata sul concetto schmitziano di “atmosfera”, in cui è centrale il focus sulla sfera affettiva, concepita però all’interno di un orizzonte patico e anti-introiezionista.
Uploads
Papers by Sara Borriello
Taking the neo-phenomenological interpretation of the wind as a ‘quasi-thing’, this paper explores the most common ways of representing this particular phenomenon within the European iconographic tradition, with the aim of identifying those that can best depict it in its quasi-thingly nature. More specifically, this work aims to show that – under certain conditions – painting is not only able to express the particular meteorological and affective nature of the wind, but can also be a useful tool for shedding light on the so-called theory of atmospheres, which are themselves grounded in the thesis of the spatiality of feelings.
With the help of a few examples from modern and contemporary painting, in which the wind finds its place as an aesthetic phenomenon, this paper outlines the possible characteristics of an atmospheric art in which the phenomenon is represented in all its affective power. Such art discloses or emphasizes the affective influence that phenomena such as the wind can exert on us, radically altering our sensory relationship with the world.
Conference Announcement by Sara Borriello
Books by Sara Borriello
Taking the neo-phenomenological interpretation of the wind as a ‘quasi-thing’, this paper explores the most common ways of representing this particular phenomenon within the European iconographic tradition, with the aim of identifying those that can best depict it in its quasi-thingly nature. More specifically, this work aims to show that – under certain conditions – painting is not only able to express the particular meteorological and affective nature of the wind, but can also be a useful tool for shedding light on the so-called theory of atmospheres, which are themselves grounded in the thesis of the spatiality of feelings.
With the help of a few examples from modern and contemporary painting, in which the wind finds its place as an aesthetic phenomenon, this paper outlines the possible characteristics of an atmospheric art in which the phenomenon is represented in all its affective power. Such art discloses or emphasizes the affective influence that phenomena such as the wind can exert on us, radically altering our sensory relationship with the world.