Alice Iacobone
Title
Dr.
Last Name
Iacobone
First name
Alice
Email
alice.iacobone@unisg.ch
36 results
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Item type:Publication, Anthropocene or Plasticene? Material Agents of a Plasticized PlanetThe paper explores the possibility of shifting from the notion of the Anthropocene to that of the Plasticene. The latter does not aspire to substitute the former by replicating its universalist pretensions; on the contrary, the Plasticene presents itself as a '(x)cene' , that is, as one of the many Anthropocene alternatives that are overtly partial, minor, perspectival, and composable. The Plasticene hypothesis rests on the observation that plastics can become embedded in the soil, thereby constituting a potential marker horizon. The paper develops this hypothesis into a philosophical theory characterized by the epistemologically complex expression of a nonhuman and material perspective, and by a chronopolitical attempt to open the future in non-linear ways. Methodologically, it adopts a bottom-up approach: by closely considering a Plasticenic figure - the plastic rock, framed as an onto-political geobody with a non-human subjectivity - it progressively enlarges its view and derives concepts and categories of the Plasticene as a comprehensive framework. Such categories encompass those of material agency, material plasticity, and anachronistic futurity.Type:journal articleJournal:Athena: Philosophical StudiesVolume:20 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Plastic Imprints. Rethinking Plasticity with Material Aesthetics(2025-03-15)This essay explores the material and aesthetic aspects of the concept of plasticity. Catherine Malabou’s influential account understands plasticity from a morphological perspective built on human subjectivity. Her account, however, overlooks the plasticity of nonliving materials as well as the origins of plasticity in the field of aesthetics and the arts. At the same time, Malabou rejects the figure of the imprint, which she associates to the Derridean trace. Drawing on Gilbert Simondon and Georges Didi-Huberman’s theories, my argument is based on a reappraisal of the imprint understood as a non-reductive, non-hylomorphic way of conceiving of the event of material morphogenesis that is at stake in plasticity. By addressing these points – the imprint, the arts, aesthetics, and nonliving materials – it will be possible to gain a renewed understanding of plasticity and make it into the core concept of a new materialist account centered on the affects and the “sensations” of singular materials: a material aesthetics. This theoretical operation will prove possible only by remaining close to the materials (here, wood, clay, wax, plaster, ...) and to the practices (here, the technique of waste-mold casting).Type:journal articleJournal:Philosophy KitchenVolume:22Scopus© Citations 1 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Per Crescita di Buio. Giuseppe Penone's Art-Bodies(University of St. Gallen: Faculty of Italian Studies and Environmental Humanities, 2024-10-01)Type:journal articleJournal:Unruly Natures - Some of the metrics are blocked by yourconsent settings
Item type:Publication, The art of the inexhaustible. Aesthetics and hermeneutics in Luigi Pareyson(2024)Piedmontese philosopher Luigi Pareyson played a major role in the Italian context of the twentieth century, developing a highly original philosophical perspective. The present paper focuses on his aesthetics, his hermeneutics, and the relationship between the two. After a first introductory section on Pareyson's life and on the different stages of his philosophical reflection, the article turns to Pareyson's aesthetic theory of formativity, with a focus on the aspects that most clearly enucleate its hermeneutic bases. The third section examines Pareyson's explicit contribution to hermeneutics, by drawing attention to the fact that art best exemplifies the dynamics that are at work in any act of interpretation. The fourth section takes into account the concept of "persona" as a trait d'union that runs through Pareyson's whole philosophy, shedding further light on the interpretative process as it involves both artworks and truth. Ultimately, the paper aims to show how in Pareyson's thought the hermeneutics, although outlined more than fifteen years after the aesthetics, logically precedes and underpins it.Type:journal articleJournal:Critical TheoryIssue:8/1 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, «Lay it into the open wounds». Art at war in Maria Kulikovska's performative sculptureThe paper addresses the work of Ukrainian artist Maria Kulikovska, who resorts to military equipment as artistic materials and to destruction as an artistic method. In the first section, I contextualize Kulikovska's performative sculpture within art history, claiming that it can be regarded as Destruction Art. In the second section, I turn to Catherine Malabou's concept of "destructive plasticity" as a philosophical tool of an aesthetics of war, which offers a sound theoretical framework to further understand the implications of Kulikovska's artistic activity. In the third section, I focus on the main material adopted by Kulikovska, ballistic soap, showing how the artist materially deconstructs inherited dichotomies that keep informing our understanding of wars. By considering the artistic practice of a feminist artist (M. Kulikovska) through the lens of feminist scholarship (K. Stiles, C. Malabou, J. Butler), the paper investigates the relations between war and the arts from a situated perspective.Type:journal articleJournal:Aisthesis. Pratiche, linguaggi e saperi dell'esteticoIssue:16/2 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Parasites at Work. An Essay in the Aesthetics of Glitch Art(2023)The paper considers the field of glitch art and aims to analyze it historically and theoretically. In the first section, the glitch is addressed in its general features, i.e., as a minor malfunction that calls into question the ordinary functioning of both technical and socio-political machines. Then (section 2), I sketch a history of the ways in which the glitch has circulated across different artistic media and genres. The third section draws attention to an often-overlooked aspect of glitching dynamics, i.e., the fact that the glitch differs logically and practically from the bug that generates it. While these three sections are also intended as a critical survey on the existing literature, the fourth section aims to outline an original proposal for an aesthetics of glitch art. Such account unfolds as an aesthetics of parasitism, where the bug plays the role of the parasite (the material and yet invisible element that perturbs the artwork's digital code) and the glitch plays the role of the symptom (the artwork's hyper-visible, disturbing phenomenal appearance).Type:journal articleJournal:Trópos. Journal of Hermeneutics and Philosophical CriticismIssue:15/1 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Formatività e performatività. Sull’attualità dell’estetica di Luigi PareysonFormativity and performativity are notions arisen and developed within very different philosophical contexts; however, when it comes to investigate artistic phenomena the two concepts can profitably be related to one another. In this paper, I aim to bring together Luigi Pareyson’s aesthetics of formativity and the aesthetics of performativity outlined by Erika Fischer-Lichte. Not only do I intend to stress the relevance of formativity in relation to the most recent philosophical debates; I also claim that Pareyson’s aesthetic theses, when regarded in the light of their sources and legacy, can lead us to very important and radical conceptual solutions. In particular, formativity allows us to conceive of poietic artistic productions in a performative fashion, thus broadening the aesthetics of performativity as a whole. After an introductory section on the notions of formativity and performativity (§2), the paper considers some classic themes in modern aesthetics and discusses them from this twofold point of view. Tackled topics range from artistic production (§3) to the artwork’s activity (§4) and to artistic reception (§5). The combination of formativity and performativity ultimately leads to a non-representative, non-fictional account of art (§6). The artwork is no longer regarded as an object but rather as an event, whose materiality, far from being disavowed, is intended as a never-ending performance of morphogenesis.Type:journal articleJournal:Annuario FilosoficoIssue:38 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Becoming-Dinosaur: Towards a Morphology of Creative InvolutionPalaeontologist Jack Horner, along with molecular biologists and other experts, has been working on building an animal that he calls "the Chickenosaurus." Horner's purpose is to reverse-evolve a bird into a non-avian theropod by intervening on the genome expression of a chick's embryo in ways that stimulate the formation of ancestral characteristics (activation of atavism). After a discussion of the project in its scientific detail, I offer a theoretical perspective on the topic that relies on concepts developed by Gilles Deleuze. In particular, I argue that the Chickenosaurus can be regarded as an eligible example of Deleuzian "becoming" and that it deserves philosophical attention in that it displays the "creative involution" through which novelty is produced.Type:journal articleJournal:Altre ModernitàIssue:26 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, L’esprit du lieu et son fantôme. La restauration créative d’Edoardo TresoldiThe paper considers the creative restoration of an early Christian basilica in Siponto, Apulia, realized by Italian artist Edoardo Tresoldi. Tresoldi resorts to the wire mesh as an artistic material: the restored basilica thus results in a monumental but evanescent building. After an introduction describing the public artwork, the paper unfolds in two main sections. In the first one, the focus is on the concept of genius loci as a distinctive character of Tresoldi’s poetics. Through an Heideggerian lens, the stress is put on the existential value of dwelling, which is highlighted by the restored church. The second section focuses on the ghostly and uncanny (unheimlich) appearance of the basilica. Thanks to authors such as Derrida and Didi-Huberman, it is shown that a genius deloci is at work in the site as well, calling into question the different temporalities that animate the basilica. Genius loci and genius deloci finally prove as a conceptual couple capable of providing us with an access to the artwork; nevertheless, they are not understood as a dichotomy, i.e. as mutually exclusive concepts, but as opposite notions that “haunt” each other and that cannot but be used together, in the postmodernist fashion of double-coding.Type:journal articleJournal:Itinera. Rivista di filosofia e teoria delle artiIssue:22Scopus© Citations 1 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, The Strategy of Genesis. On the Productive Power of Artistic Iteration(2021)The paper aims at developing a theoretical outlook on Eduardo Kac’s Genesis, a bio-artistic operation of “perversion” of the biblical passage that establishes men’s dominion upon other living beings. The case study will be addressed through the analysis of the idea of productive iteration. Following Derrida’s reflections on the general iterability of marks and Butler’s investigation of the subversive potential of repetition, it will be shown how iteration can bring novelty into being – where such novelty occurs in a constantly renegotiated balance between chance and constraint. Finally, it will be claimed that this iterative dynamic can be regarded as a strategy of subjectivity production. These subjects, however, will be conceived in terms of sympoietic entities that are constitutively entangled with one another in relationships of mutual responsibility.Type:journal articleJournal:Philosophy Kitchen. Rivista di filosofia contemporaneaIssue:14