B5345 - Theory and philosophy of images (1) (LM)

Learning outcomes

At the end of the course, the student acquires theoretical, methodological and historical-critical awareness of the strategies and issues implied in artistic and symbolic representation. In particular, he/she is guided to 'read' images and symbols as an expression of the correlation between ideas, concepts, styles, theoretical and technical achievements in view of a representation and formalisation of reality. The intent is not only to initiate an articulate reading of artistic production by placing it in relation to the precise historical-social-cultural context within which it took shape, but also to recognise in the image and the symbol an essential element and medium of cultural and intellectual history between the Middle Ages and21th century.

Course contents

Il disegno è di tanta eccellenza, che non solo ricerca le opere di natura, ma infinite più che quelle che fa natura” (Cod. Urb. Lat.Vat. 1270, f. 50r). It is Leonardo's thesis of a painting of infinite forms, seen as a guide to philosophy and science, because it is able to offer vision not an illusory world, but a hyper-reality that amplifies that perceived by sense. In the context of culture between the 15th and 16th centuries, Leonardo's idea corresponds to a conviction and a need shared not only by artists: there exists a potentially infinite reality, exceeding that which is the object of direct experience. In that reality are hidden truths that the eye cannot see, but which artist realizes on his painting and subjects to intellectual vision.
These elements in order to be studied, must be able to be thought of, to be thought of, they must be imagined, and imagining is nothing other than drawing in the mind. The advantage of painting over philosophy and science between the 15th and 16th century lies in recognising itself as the ‘effigy of the idea’: not the mimetic reproduction of existing phenomena and contexts, but the art of giving meaning back to ideas and concepts never seen before. This inventive and productive, and not merely reproductive, value of Renaissance figurative art becomes a tool and a model available to philosophers and scientists to learn how to look at the invisible with the mind's eye.
The course will focus on certain elements that, addressed in the artistic sphere during the 15th century, led to new cognitive conceptions, destined to be consolidated in the years of more mature modernity.
In particular, the symbolic and gnoseological values linked to:
- the aerial perspective of Leonardo's backgrounds, a vehicle for an infinitist conception of space and the dynamics of nature;
- the ‘ray of shadow’, theorised by Leonardo (MS A of the Institut de France,f. 101v; Cod. Urb. Lat.Vat. 1270, f. 173r), an index of physical realities endowed with potentially infinite qualities;
- the Italian Annunciations between the 14th and 15th centuries (Ambrogio Lorenzetti, Beato Angelico, Piero della Francesca, Carlo Crivelli, etc.), an example of the irruption of the infinite into the folds of the finite.

 

 

Readings/Bibliography

In addition to the materials (texts and images) presented in class (which will be collected in a handout), students are required to know two of the essays listed (three for students who did not attend classes):

- G. Cuozzo e T. Leinkauf, Le dialettiche del Rinascimento. Natura, mente e arte da Nicola Cusano a Leonardo da Vinci, Milano, Mimesis, 2021

- D. Arasse, L’annunciazione italiana. Una storia della prospettiva, Firenze, La Casa Usher, 2009

- M. Kemp, Immagine e verità. Per una storia tra arte e scienza, Milano, Il Saggiatore, 1991

- R. Lupacchini, Nella mente della natura. La scienza della luce e la dottrina delle ombre, Pisa, ETS, 2020

- N. Ordine, La soglia dell’ombra. Letteratura, filosofia e pittura in Giordano Bruno, Venezia, Marsilio, 2003

- Lo sguardo del lupo. Arte, matematica e filosofia nell’umanesimo del Quadrivio, a cura di A. Angelini, Bologna, Pendragon, 2024

Teaching methods

15 lectures
During the class, significant texts and images relating to the topic will be presented, read and commented on, and then published among the unibo teaching materials.
It is recommended to regularly consult the teacher web page on which any information and changes useful to those attending the course will be uploaded.


Attending students can agree with the lecturer before the end of the course on individualised work on specific topics.

Assessment methods

Oral examination: Students are recommended to bring the texts when examining.The interview focuses mainly on analysis and critical interpretation of the sources.
Students who have attended lectures may agree on exams (whether written or oral) devoted to specific topics.

Assessment criteria and thresholds of evaluation:

30 cum laude - Excellent as to knowledge, philosophical lexicon and critical expression.

30 – Excellent: knowledge is complete, well argued and correctly expressed, with some slight faults.

27-29 – Good: thorough and satisfactory knowledge; essentially correct expression.

24-26 - Fairly good: knowledge broadly acquired, and not always correctely expressed.

21-23 – Sufficient: superficial and partial knowledge; exposure and articulation are incomplete and often not sufficiently appropriate

18-21 - Almost sufficient: superficial and decontextualized knowledge. The exposure of the contents shows important gaps.

Exam failed - Students are requested to show up at a subsequent exam session if basic skills and knowledge are not sufficiently acquired and not placed in the historical-philosophical context.

Teaching tools

At the conclusion of each 'chapter' of the course (every 3-6 lessons) the topics and issues addressed will be summarised and outlined through short presentations accessible online.

Students with learning disorders and/or temporary or permanent disabilities: please, contact the office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students ) as soon as possible so that they can propose acceptable adjustments. The request for adaptation must be submitted in advance (15 days before the exam date) to the lecturer, who will assess the appropriateness of the adjustments, taking into account the teaching objectives.

 

Office hours

See the website of Annarita Angelini