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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Orsola Rignani
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DOI:10.17265/2159-5313/2023.12.001
University of Parma, Parma, Italy
The contribution moves from highlighting how, in the context of Michel Serres’ and posthumanism’s proposal of rethinking the human and the world in a perspective of inter-implication and universal co-belonging, silence (of the human word) assumes the function of a catalyst for the recognition/re-aestheticization of the human body in its sensory-aesthetic-cognitive-relational-hybrid dimensionality, and, with and for it, of the world in its agency (including artistic). Within the framework of this perspective, the investigation thus proposes a reading of art as a relation/catalyzer of relations, that is, as a (re)activation of positive relations of the human with and for a world that reveals itself to be increasingly hyper-complex, that is, more-than-human, in the continuity/inseparability of nature and culture. Taking Serresian ideas on artistic practices as non(only) human forms of expression and posthumanist “isomorphic” positions on non-human agency as tools, the research then highlights the “more-than-human” scope of art and the fact that artistic practices are responsive actions. So much so that, the human being emerges as co-agent and, of course, co-owner.
silence, re-aestheticization, more-than-human (art), posthumanism, Michel Serres
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