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Other suggestions : scopa , scomparire , scolparsi , scopare. See also: scopa , scomparire , scolparsi , scopare. To add entries to your own vocabulary , become a member of Reverso community or login if you are already a member. It's easy and only takes a few seconds:. Or sign up in the traditional way. Owen's charge that the secondary senses of being are reducible to the primary and D. Hamlyn's charge that the dependence of secondary on primary being cannot be understood concretely. It shows that Aristotle carries out the program of "Metaphysics" vii, 1 in the "Physics" where the dependence of secondary on primary being can be understood concretely in terms of characteristic ranges within which all processes of quantitative and qualitative change occur.

Thus he is able to preserve both the irreducible multiplicity of the categorial senses of being and their unity, and so pros hen equivocity. Irwin, Terence. Quel est le lien entre les deux sections du livre? On peut raisonner comme suit :. Ross, Aristotle's Metaphysics, Oxford, , p. Frede, Essays in Ancient Philosophy, Oxford, , p. Jaeger, Werner. Berlin: Weidmann. English translation by R. Kamlah, Wilhelm. Es soll gezeigt werden, wie mit den sprachlichen Mitteln dieser Logik ein bedeutsamer Text unserer philosophischen Tradition interpretiert werden kann Buch Gamma der Metaphysik des Aristoteles , und zwar unter sparsamem Einsatz dieser Mittel und unter radikalem Verzicht auf die entartete Terminologie unserer traditionellen Bildungssprache.

Ketchum, Richard. Leszl, Walter. Logic and Metaphysics in Aristotle. Padova: Antenore. Louis, Pierre. Ludwig, Walter D. Lutz-Bachmann, Matthias.

Ontologie Und Theologie. Frankfurt am Main: Peter Lang. Madison, Ryan Douglas. First Philosophy. Aristotle's Concept of Metaphysics. Mansion, Augustin. Marion, Jean-Luc. Marx, Werner. The Meaning of Aristotle's 'Ontology'. The Hague: Martinus Nijhoff. Since the meaning of the term 'ontology' is far from clear, the immediate task is to ask the 'father of ontology' what he might have understood it to mean. The introductory chapter emphasizes the fact that Aristotle himself never used the term 'ontology. For it was only during the era of the schoolmen that the vast and rich body of the prose philosophia carne to be disciplined into classifications; these classifications reflected the Christian, - not the pagan Greek view of all-that-is.

The metaphysica specialis dealing with God theology , his creatures psychology , and the created universe cosmology , was differentiated from the metaphysica generalis, dealing with being-in-general ens commune. This latter discipline amounted to the 'discipline of ontology' 1.

We are not concerned with the meaning of the metaphysica generalis. We wish to approach our problem with an open mind and want to hear directly from Aristotle - on the basis of the text of the prole philosophia alone - which body of thought he might have called his 'ontology' and what its meaning might have been. Yet however carefully we may attempt to 'bracket' all preconceived notions, it stili remains true that it is an audacious undertaking to pose a definite question to Aristotle.

More than two millenia of changing human thought cannot be eliminated, and we know very well that our question, as such, shapes and compels the answer in a definite direction which might easily be adjudged too 'modem'. Moreover, in concentrating on just one motif out of the many variegated and rich themes of the corpus aristotelicum, we are certain to overstress this one motif at the expense of others. Heidegger, Kant und das Problem der Metaphysik, p. Introduction to Aristotle's Theory of Being as Being. English translation by Robert S.

Matthen, Mohan. Merlan, Philip. Modrak, Deborah. Moreau, Joseph. Then the analysis of sensible substance exhibits an "aporia" which, through the distinction of act and potency, leads to the concept of immaterial substance or pure act. Theology is connected with ontology by means of "ousiology", and the consideration of hierarchised substances, according with degrees of act and potency, is a way for understanding the role of cognition within realistic ontology. Narbonne, Jean-Marc. Natorp, Paul. Translated in Italian as: Tema e disposizione della "Metafisica" di Aristotele.

Owen, Gwilym Ellis Lane. Reprinted in: Jonathan Barnes et al. Reprinted also in: G. Owen - Logic, science and dialectic. New York: Humanities Press. Reprinted in: G. Owen, Logic, Science and Dialectic. Owens, Joseph. The Doctrine of Being in the Aristotelian Metaphysics. Toronto: Pontifical Institute of Mediaeval Studies. Ancient and Medieval , edited by Morewedge, Parviz, New York: Fordham University Press. South Bend: St. Augustine's Press.

"malizioso" English translation

London: Duckworth. Poli, Roberto. Needless to say, this is a familiar sentence: unfortunately, it is also quite an odd one. Why Aristotle does not simply say that ontology is the theory of being? Is there any difference between 'theory of being' and 'theory of being qua being'? In brief, the problem is to decide whether the two expressions 'the study of being' and 'the study of being qua being' are equivalent.

If they are, the 'qua' does not play any interesting role. On the contrary, if the two expressions are different, that is to say, if there is a difference between the study of being simpliciter and the study of being qua being, we should study the role played by the operator 'qua'. Let us remember that 'qua' is a technical term. The word is the Latin translation of the Greek 'he' in the expression 'on he on' which, in the 17th century, gave origin to the term ontology'. I shall call 'reduplicative' the expressions containing some instance of the functor 'qua'.

Theories of reduplicative expressions will also be labelled as qua-theories. The rear-guard often has the upper hand, and The other strategy Price employs is to re-version his own work. For example, Dispersion is a text which, for Price, is a mutable document, continuously open to change and alteration.

And his artist lecture, Redistribution, is likewise open By re-versioning an older work, it is re-inserted into the cultural system and given a new opportunity to create an effect. These strategies keep the past alive by erasing it, introducing false memories, and avoiding a static personal archive of work. The art critic Tim Griffin argues that as Price disappears through a continuous re-tracing of his own personal archive, he is able to successfully elude calcification at the hands of the art world, but at a significant cost: the evacuation of any memory or stable sense of meaning of this personal archive.

Un altro set di lavori che Price ha chiamato sia Silouhettes che non-Silouhettes, esposti in multiple versioni, legate alla rivelazione del reale nel tempo, e allo spazio negativo come presenza. Anche il lavoro del giovane artista austriaco Oliver Laric si muove su livelli imparentati con la pratica di Price. Versions si apre con questo statement, a commento di varie versioni modificate di una medesima immagine di partenza diffusa dalla Guardia Rivoluzionaria Iraniana:.

An image published by the media arm of the Iranian Revolutionary Guard in shows four missiles. The above illustration suggests that the second missile from the right is the sum of two other missiles in the image. The contours of the billowing smoke near the ground, and in the immediate wake of the missile, match perfectly.

Three days after the initial doctored image was published, an alternate version was released, showing only three missiles.

"malizioso" in English

This exposed enhancement was followed by a public continuation of image manipulation. Anonymous authors, all over the world, played through numerous possibilities of missile potency. Variations spread with online forums, news blogs and image boards acting as platforms for the communal call and response. When Googling this missile incident, different versions of the image appear. The initial four missile version coexists with the forty missile version. Authenticity is decided on by the viewer. The more often an image is viewed, the more likely it makes the top of search results.

An image viewed often enough becomes part of collective memory. Precisely, it is about what five people think this reality consists of. How an incident happens may reflect nothing about the incident itself, but it must reflect something about the person involved in the happening and supplying the how. Five people interpret an action and each interpretation is different because in the telling and the retelling, the people will reveal not the action but themselves.

Digitalization would seem to allow the image to become independent of any kind of exhibition practice.


Digital images have, that is, an ability to originate, to multiply, and to distribute themselves through the open fields of contemporary means of communication, such as the Internet or cell-phone networks, immediately and anonymously, without any curatorial control. In this respect we can speak of the digital images as genuinely strong images—as images that are able to show themselves according to their own nature, depending solely on their own vitality and strength.

But the question arises: Is the digital image also a strong image in the sense that it can stabilize its identity through all its appearances? A strong image can be regarded as truly strong only if it can guarantee its own identity in time—otherwise we are dealing again with a weak image that is dependent on a specific space, the specific context of its presentation.

Nothing is in a fixed state: i. Digitalization creates the illusion that there is no longer any difference between original and copy, and that all we have are the copies that multiply and circulate in the information networks. But there can be no copies without an original. Even if an image or object is able to be traced back to a source, the substance substance in the sense of both its materiality and its importance of the source object can no longer be regarded as inherently greater than any of its copies. When I take a moving image and represent it through an object video rendered sculpturally in styrofoam for example , I am positing an alternative method of representation without ever supplying a way to view the source.

A source video exists. The idea of a source video exists. Similarly, looking at digital images we are also confronted every time with a new event of visualization of invisible data. So we can say: The digital image is a copy—but the event of its visualization is an original event, because the digital copy is a copy that has no visible original.

That further means: A digital image, to be seen, should not be merely exhibited but staged, performed. Here the image begins to function analogously to a piece of music, whose score, as is generally known, is not identical to the musical piece—the score itself being silent. For music to resound, it has to be performed. Thus one can say that digitalization turns the visual arts into a performing art. But to perform something is to interpret it, to betray it, to distort it. Every performance is an interpretation and every interpretation is a betrayal, a misuse. The strategy employed by myself and others towards this physical relationship has been to create projects which move seamlessly from physical representation to Internet representation, either changing for each context, built with an intention of universality, or created with a deliberate irreverence for either venue of transmission.

In any case, the representation through image, rigorously controlled and edited for ideal viewing angle and conditions, almost always becomes the central focus. It is a constellation of formal-aesthetic quotations, selfaware of its art context and built to be shared and cited. On the one hand, Contemporary Art Daily replaces the discrete pages of the print journal and the gallery web-. Then I got this idea to try and create artworks that were un-documentable, and then this basically shifted into trying to make art objects where the content of the work was the documentation and that had multiple, unique viewing experiences.

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Reflective material offered all of these qualities and I just jumped into that head-first. The timing was so perfect, as reflective material seems to be really trending in fashion right now. On the other, the design of the site itself clearly imitates the gallery space, with its clean white layout and minimum of textual interference.

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  • But Contemporary Art Daily has also, in tandem, generated physical gallery spaces. A number of galleries sprang up around the turn of the decade, especially in Italy and Germany, that present shows more or less explicitly for distribution on Contemporary Art Daily and sites like it. These galleries all employ a large number of high-wattage fluorescent-light fixtures, as opposed to more traditional spot lighting, making their walls pulsate like a white IPS screen the now-ubiquitous LCD technology introduced by Apple in CM: I love the idea of documentation as content too and it is clearly foregrounded in this project.

    Can you say a bit about why you have chosen to set it up in this way? PI: Yes this is the most important thing. Downgrade Stock Le recenti svolte tecnologiche hanno creato un immenso archivio di immagini, in costante espansione, che rimettono in discussione il rapporto tra reale e rappresentato. Behind technological change, there is anxiety. We are going somewhere. The addiction to technology and change blinds us to the effects of these changes on the Earth. Pollution derived from technological progress is gradually turning the planet into a trash dump. Every step of the way there are deeper anxieties about, say, death or dealing with other human beings in a serious way that are avoided.

    Purely actual objects do not exist. Every actual surrounds itself with a cloud of virtual images. This cloud is composed of a series of more or less extensive coexisting circuits, along which the virtual images are distributed, and around which they run. From this perspective, the virtual images delimit a continuum, whether one takes all of.

    The varyingly dense layers of the actual object correspond to these, more or less extensive, circles of virtual images. These layers, whilst themselves virtual, and upon which the actual object becomes itself virtual, constitute the total impetus of the object.

    O forse include entrambe le cose nella forma di uno scivolamento laterale.

    Dopo Nietzsche by Giorgio Colli

    Questo stato delle cose crea un vicolo cieco nella coscienza del mondo che abitiamo, un buco nero nella nostra percezione in relazione con spazi e tempi in permanente spostamento e ridefinizione. Both and neither. These musicians can be read as sarcastic anti-capitalists revealing the lies and slippages of modern techno-culture and its representations, or as its willing facilitators, shivering with delight upon each new wave of delicious sound. Accelerationism is the notion that the dissolution of civilisation wrought by capitalism should not and cannot be resisted, but rather must be pushed faster and farther towards the insanity and anarchically fluid violence that is its ultimate conclusion, either because this is liberating,.

    Un lavoro con la freschezza del work-in-progress e del bozzetto ma che sia stabile e solido senza essere completamente comprensibile. Vorrei essere leggero, liquido, vaporizzato, e anche presente e materiale e biologicamente ingombrante. Essere dentro i flussi informativi, con i piedi nel fango. Distaccato e innamorato allo stesso tempo. Across the void of the fully developed city, the grinding wail of the siren, which only the attuned can here. It is a low tone, below the frequency response of most eardrums, but it causes particular imaginations to resonate.

    Under the minaret, an empty ruin, waiting for someone to invent what will happen there. This is a real city, and these empty spaces are real. This is every city on earth. These cities are filled with new buildings, comprised of blank walls, unpainted, left bare by their builders out of lack of desire. Once the space had been separated, the wall was deemed complete. And yet they remain, waiting, a blank space to be marked with paint, with ink, with fire, or kinetic force.

    Each wall is a moment that has yet to happen, in which hesitation left a silence void. We look out of the windows, and to the left and right of us as we trudge up and down the streets, and we have been taught to not see these empty places, and not to think of white space as a pregnant pause. But each blank space needs the machines of myth to chisel and hammer at its perfect singularity, to create an un-architectural harmony across its pure undifferentiatedness. But too often, we ignore the call to perform this ritual.

    We wait for a better canvas, a better opportunity, a venue that we can afford. The call of this ritual intends to be the end of all prophetic dreams. This alchemical practice aims to be the beginning of working-through our myths in the street. There are small machines, eating at the base of the walls, installing themselves in the alcoves and alleyways, black market mechanisms of supply and demand, of gamble and reward, of investment and loss.

    Take the data they spit on you, and rub it into your algorithm. Reject the Like Economy and replace it with a barter system of curses and threats. Print your own sigilized business cards of the attention-investment elite. The technology is calling us out into the streets, but we ought not to wander out unprepared.

    If you are missing anything, ask your neighbor or see what you can fashion from other tools. Fatigue, Coriolis, Caduta perpetua Imagine how humans grow up in the info sphere. But there is no ground. If you want to survive you have to be competitive, and if you want to be competitive you must be connected, receive and process continuously an immense and growing amount of data.

    This provokes a constant attentive stress, a reduction of the time available for affectivity. Like the athlete who lives to perform for stadiums and television audiences of millions, the aesthlete basks in the stress of overproduction. I have extended myself into the machines I carry with me at all times. This space is continually shifting and I veer to adjust, applying myself to new media, continually gathering and recording data about myself, my relationships, my thoughts.

    I am a immaterial database of When I bought a fan at a store recently, the clerk not only took my cash, but also wanted to know my first, middle, and last name, mailing address, home phone number, cell phone number, e-mail address, birth date, and my favorite holiday. Becoming a member of the store means huge discounts and chances to meet other members at in-store events, the clerk told me. No thanks, I said. Belonging is increasingly part of the nature of transactions. I am not a joiner, and try to ignore the offers and specials that businesses use as incentives.

    There was a single hill called Nunne Chaha. In the beginning everything was dead. In the beginning there was nothing; nothing at all. No light, no life, no movement no breath. In the beginning there was an immense unit of energy. In the beginning there was nothing but shadow and only darkness and water and the great god Bumba. In the beginning were quantum fluctuations. I saw information stacked on top of itself in simultaneity, no longer confined to spatiotemporal dimensions of the book.

    This information was editable, and I could copy, paste, and cut text and images from one place to the next, squirreling away bits that felt important to me. I suddenly understood how much of myself I was finding through digital information. Objects will stay suspended if you let go of them. Whole societies around you may be falling just as you are. When more information buy less meaning, when there is inflation in meaning, the info sphere accelerates and you are unable to keep up.

    In fact they stream into each other reciprocally and ceaselessly, possibility becoming real, fact projected beyond itself into abstraction. The Coriolis effect is a concern of pilots, where it can cause extreme disorientation. In physics, the Coriolis effect is a deflection of moving objects when they are viewed in a rotating reference frame. The waiting period between releases that once structured the market and assigned a price to each work does not suit online content.

    The aesthlete is outrunning them. As you are falling, your sense of orientation may start to play additional tricks on you. The horizon quivers in a maze of collapsing lines and you may lose any sense of above and below, of before and after, of yourself and your boundaries. Pilots have even reported that free fall can trigger a feeling of confusion between the self and the aircraft. While falling, people may sense themselves as being things, while things may sense that they are people. Traditional modes of seeing and feeling are shattered. Any sense of balance is disrupted.

    Perspectives are twisted and multiplied. New types of visuality arise. Drones survey, track, and kill. But the entertainment industry is busy as well. One could almost say that 3D and the construction of imaginary vertical worlds prefigured in the logic of computer games are essential to each other. The answer is simple: many of the aerial views, 3D nose-dives, Google Maps, and surveillance panoramas do not actually portray a stable ground.

    Instead, they create a supposition that it exists in the first place. Retroactively, this virtual ground creates a perspective of overview and surveillance for a distanced, superior spectator safely floating up in the air. Just as linear perspective established an imaginary stable observer and horizon, so does the perspective from above establish an imaginary floating observer and an imaginary stable ground.

    Falling is corruption as well as liberation, a condition that turns people into things and vice versa. It takes place in an opening we could endure or enjoy, embrace or suffer, or simply accept as reality. But falling does not only mean falling apart, it can also mean a new certainty falling into place. Grappling with crumbling futures that propel us backwards onto an agonizing present, we may realize that the place we are falling toward is no longer grounded, nor is it stable.

    It promises no community, but a shifting formation.

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    • Il suo stesso lavoro e studio online dissociations. Indeed, a user on the autism message board wrongplanet. In autistic mode I believe the thoughts in my head to be reality. There is a filter from the world as it is to my perception of the world… In non-autistic mode there is no filter from the world as it is to my perception of the world. The only truth is what I sense around me. Non-senso come proiezione di uno spazio negativo, un silenzio che possa alienare dal rumore di fondo — un baccano infernale che rompa il silenzio. La scelta simultanea di molteplici direzioni.

      Ogni oggetto o immagine discreti sono comunque parte di un continuum di istanze non finite Tom Sherman. Ethereal culture is grounded, made concrete, in its audience. Works of art in the immaterial domain are never finished, they are simply introduced initialized and placed contextualized for participation and interaction: the audience may add to, alter, customize, pass on, subtract from the work, etc. The identity or address of the work is therefore shared by the artist and the audience.

      The artist, of course, may choose to revisit any or all of his or her own works for revision in such an interactive environment. Retina Display is a brand name used by Apple for liquid crystal displays which they claim have a high enough pixel density that the human eye is unable to notice pixelation at a typical viewing distance. In a Post-Internet society we find that most of all our art experiences are mediated online, as an art existing through various forms of digital documentation. However, a conflict can be observed from these commonalities: certainly not all digitized, immaterial artworks have the same intentions.

      While all contemporary art may very well be immaterialized online and equalized in this vein, it is because each artist utilizes these platforms so differently, for different purposes and with different agendas that conflicting notions of display emerge. If we follow these conflicts, what we arrive at is an art that is digitized through conversion and an art that is digitized from inception. The former would include art objects that have been digitally documented, and the latter would include websites, digital images, videos, sound pieces, etc.

      This type of art likely regards the gallery context display of itself as an ornamental one, unnecessary for the experience of such works. There is a difference then, in an art that chooses to exist outside of a browser window and an art that chooses to stay within it; that continues to. This difference also means recognizing the distinct polarities between online and offline art models and the translations that occur from one space to the other.

      It is here a potential severance between participants exists and as such, ultimately comes down to the philosophies and politics of the artist: between the traditional and the ideal. No anxiety can arise, if departing I know there is no place to be reached. In the age of traceabilty and database telling something is the ability to include something else. Accordingly, Google presupposes the liberation of individual words from their grammatical chains, from their subjection to language understood as a grammatically defined word hierarchy.

      The trajectory of this migration is the truth of an individual word as it is displayed by Google. And the sum of all these trajectories is the truth of language as a whole—the truth of language that has lost its grammatical power over words. Grammar is the means by which language traditionally created hierarchy among its words.

      And this hierarchy informed and even determined the way in which the traditional philosophical questioning of knowledge and truth functioned. Questioning via Google presupposes, on the contrary, an extragrammatical set of word clouds as an answer—the word clouds in which the sought-for word occurs. What is the place of art in this game of reinventing the institution once called a university? Art is the decisive link between conscious mental activity and sensibility, and also between sensibility and sensitivity. During the last decade, art has played a crucial role in modeling the perception of a new form of alienation.

      Reactivating sensibility and sensitivity—the affective and sensuous understanding of the other—becomes key to a self-organization of collective intelligence. Poetry is the language of such a therapeutic project. The therapeutic and artistic act of poetry will open a new space for epistemological autonomy. Is it OK to fart… in art? In the shops I feel wired, interconnected, able to share globally understandable contents, universal designs, absolute truths. Post Internet as a term was met with measured enthusiasm but also with immediate animosity and suspicion by those it was projected on.

      The artists who rode the trend the hardest were often the most vocal opponents of the term. Artists wanted singular and long. The cult of authenticity drives hipster culture. You wear black suit jackets and police other teens to become small adults too. Post Internet had its wings clipped when everyone became a post-minimal post-conceptual sculptor the art establishment could have a well-argued reasonable hard on for.

      Too bad the resources and old dude attention injected into these freshly emerged practices is also a kiss of death, although less wet and sloppy, less ultimate. To be assimilated is to be forgotten. You find yourself alone in a room full of people.


      Who you are is better than who you want to be. In the film Varda expands the definition, first to urban gleaners of trash and then to herself, a gleaner of images. I want to glean Post Internet, brush it off, form a layer of protection around it, see what it could still do. I want what no one else does.

      Give me your twitter account, your personal brand, Your huddled Tumblrs yearning to breathe free; The wretched refuse of your teeming social media presence, Send these, the homeless, Tempest-tossed to me I lift my lamp beside the golden door!