The following interview was the last one (I) gave the philosopher Emilio Garroni ( at the exit of volume Image Imagery ), shortly before his death in 2005.
is to Laterza recently released his new book: Image Imagery the latest product of his tireless activity. As we talk together? What is this? It is a book, I think, of new content, if we exclude his very first work, The Crisis semantics of the arts.
Yes, somehow it is true, even if indirectly, I have always dealt with these issues, the emergence of meaning, the sign of the complex cultural strategy and human. But here I take it head on. I must start by saying that everything we say here in the book is told plainly and intelligibly. This seems to me its real news, especially compared to that first book, which is full of notes, quotes, authors, and often unnecessary. I remember that Italo Calvino, which I appreciate it and used it for a story on the sign, I did notice. And since then I always follow his instructions. The last word is written as if you were talking to myself, there are well known and very few authors are mentioned in the text, almost exclusively classical, and the conversation comes to a player with great ability, from what I hear, to be understood . Badi, is not a popular text. But it is understandable for the reason that.
Now, the last book I start from the head, since the birth of the concept of perception. I call it the product of interpreting human perception, which is able to dissolve the ambiguity, the human being without an ability to capture feelings signs of equal magnitude in other animals. For good and even better survival, it comes just a perception interpretant, which recognizes objects beyond all doubt.
you mean that concepts are born with the perception?
Yes, they were created with the perception, even if they have different features, but not separate from the linguistic meanings and intellectual concepts. For example always depend on the perceived when building classes or quasi-class, not an intellectual conscience. I do not believe for example that can be said that those quasi-classes contain 'all' and 'only' members that their definition implies. In fact they are not explicitly defined, and 'all' and 'only' are precisely the elements of an explicit definition of the minutes, they gradually formed by aggregating the perceptual objects, and far more if we do not know, since it is a simple fact. And yet, no perception, no concept or meaning exist. Well I tried to define a kind of phenomenology of the concept, on which, if possible, I want to return.
And then there's the whole problem of perception-language report, which would be lengthy chase. I ask only one thing on this point. In that sense, every proposition language, you have just said, must assume some kind of perceptual representation? But language is not capable of powerful abstractions, far removed from the concrete perception.
Without a doubt. It is not my intention to limit the scope of the language scope of perception. I mean that a perceptive, sensitive global understood, is precisely what draws us in things in the world, all the same. Otherwise the language would speak of nothing, not abstract. Only that if some uses of language to refer directly perceived, others are apart, not ignoring it, but gradually transforming through similar procedures, for example by dropping some lines and keeping others.
She then dwells at length on the "figure" who would like to distinguish terminology "image" to avoid confusing two very different things to each other.
With "image" I mean the internal perceptual image, currently produced or brought to mind with "figure" its reduction and externalization.
For example, the image of art, figurative or not?
Yes, but I do not privilege the art images, even if they are a product outside of major importance. I prefer to refer to the use of shapes for different uses and quantitatively more prevalent: the symbolic, communicative, technical, design and so on. Well, in the case of the most typical, the predominantly visual, it must be fixed by a convention in a static form, while the image was built starting from the eye with a variety of looks that change continue their center of attention, little or across the entire visual reality from side to side. This is so dynamic, as opposed to the figure, which can revitalize itself only being played by a look into an internal image. The differences, however, some notable similarities in the case of Figure its ability to restore many aspects of the visual image in a figure in the case of the musical figure, on the contrary, this is radically different with the picture as a whole, but it retrieves the dynamic character, for example, by the counterpoint.
Back the question of the arts. She was professor of aesthetics and therefore can not be indifferent to the issue. Mistake or in his book there is a note of pessimism about the possibility of preserving the concept of "art" valid until a few years ago?
is not a question of pessimism or optimism, something subjective, but to consider the fate of the 'art' in modern aesthetic sense, as objectively as possible, that is, those 'art of engineering' or In short, produced by that talent can not be analyzed completely. It causes intense pleasure without them even see to the bottom of a justification, either in the rules that guide it well in part, or in the meanings it carries. So: the fate of fine art in general may not even suspect anyone, because there is beautiful art in general. There are several forms that you claim exists in various cultures and in particular what we consider beautiful art just because it has shaped our Western culture over the last three or four centuries. Well it is obvious that this kind of art is in a recession for some time, because the same artists also produce it in a different one. It is pessimism, this, or just finding things?
The last question to you concerns the scholar Maurizio Grande (who died tragically and prematurely in a car accident). Massimo exegete (in Italy) by Carmelo Bene, was his pupil and friend, I remember it save?
Maurizio Grande was, in a sense, above all, a dear friend, as well as my excellent student in the sixties-seventies (then still practicing the semiotics and Maureen graduated with me with a beautiful view on Prague structuralism ), then plug in Rome and Cosenza, and then professor of film history and criticism at the University of Siena, where she also taught theories and techniques of film language. Given the affection that bound me to him and that still keeps me from truly believing and all the way to his death, I will remember his personality schematically as a scholar.
Mauritius, as I have said before, was semiologist and aesthetic training, and never lost this habit even when he devoted himself mainly by historical and critical, even militant, cinema and theater. In truth he was not no alien territory of this universe. And he was a scholar, talented, knowledgeable and sharp, and extremely open and unbiased. His contributions in fact are not limited only to the phenomena theater and film the most advanced enough to remember that effect on his writings, and his collaboration with, Carmelo Bene, whence born that beautiful book that is Carmelo Bene, the circuit Baroque, 1973. (But I also recall at least The rescue of Lucifer , 1985, dedicated to experimental theater in Italy, as well as Eros and political , 1995, at Bellocchio, Ferreri, Petri, Bertolucci, the Taviani brothers). They also extend, however, never giving in to stereotypes sometimes indulge in the most sophisticated moviegoers, so to speak, the phenomena 'low' of the show ('low' in the rhetorical sense), drawing illuminating readings of a climate, a costume , a style, without which even the style of "high" buy a specific aspect (for example, has occupied the so-called "Italian comedy," 'the Iliad this country's frayed, the provisional canagliesco, indestructible and unchangeable, "he wrote in a book that Barbaro deserved the award in 1986 wedding dress and banknotes ) . However, the formation of his aesthetic and semiologist not only was always in the background, but was often in the foreground, leading him to rethink all the time, with his usual delicacy, theoretical issues, while not divorced from historical connotations and critical essays in raids happy cultural life (The mechanics of the text , 1978; entries of the subject , 1985; Studies Dionysism , 1988; Cinema of Saturn, 1992, and so on). These interests are theoretical essays had gone perhaps emphasizing recently: here and remember "The writing in the mirror. Individual codes and autoriflessività style in Eisenstein and Vertov, "written in 1992 and released later in the stage and screen , and the report" The operator time in fiction film, "held at the convention of 1995 on the island of Ischia Tale between cinema and literature.
But I would mention especially, in this sense, the anthology of theoretical texts Introduction to the semiotics of the show , 1990, now almost impossible to find, I am told, with his lucid and thorough introduction of all theoretical, which is perhaps the most mature reflection of his aesthetic-semiotic. His relationship with the semiology is revealed here as always enthusiastic and a critical time. "Over the past thirty years, in Europe and in Italy, semiotics - write in that ' Introduction - won the primacy of research in communication and reflection on ways of meaning." (But the opinion also contained a considerable distancing, the distancing that makes each discipline a real discipline, preventing it from falling into routine and, finally, at the stupidity). Added fact that his central problem is precisely the "problem of meaning" which "has affected the philosophy and psychoanalysis, logic and epistemology, the theory of knowledge el'ermeneutica, aesthetics and criticism," thereby freeing semiology itself from quell'autosufficienza pseudospecialistica that was precisely because of its growth crisis in the seventies. Rightly, therefore, not considered as such in some studies of the sixties, a "coding theory", or just a "coding theory", but also and above all just a "theory of meaning", where by "sense" must be understood not "real sense" achieved any single act of words, or "meaning", as a class of concrete under a fixed langue , but the "condition of meaning" that makes possible and concrete meaning and significance.
A book of great interest, from the standpoint of the general essay, extravagant to a certain point in its wide and varied production, is Twelve women, who published it in 1994 publishing practices and is now being published France: it is a series of essays, linked by a common purpose and dedicated to the great female characters as characters, from electrical to Salome, by Filomena Marturano at Lulu, and so on. And with this book, I would say, Maurizio Grande was confirmed not only great scholar, but also a writer of the highest order, beyond any disciplinary division.
And finally, not only for personal and emotional reasons, I remember that one of his last essays, "To hear and examine. Around the visibility of the critics, "the Great wrote to a volume of writings devoted to me, on the occasion of my seventy ( meaning and history of aesthetics, edited by P. Montani, '95). It is in truth a beautiful and insightful essay, and we would remember this, but it was also his last test of friendship towards me, and especially today I am grateful for this.
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