All Quotes

"Giving oneself as something that feels means asking that the substances that make up the partner's body be mixed with one's own, creating a single extension in which one travels for hours, for days. Taking something that feels means asking that one's clothes be accepted everywhere and always, to the point of not being recognized either by oneself or by one's partner as belonging to anyone. Thus, the difference between giving and taking falls away. (p. 13)"

"Today more than ever, art leaves behind a shadow, a less luminous silhouette in which it retreats into its own disturbing and enigmatic nature. The more violent the light with which one seeks to illuminate the work and the artistic process, the clearer the shadow they cast; the more mundane and trivial the approach to the artistic experience, the more its essence retreats and protects itself in the shadows. (p. IX)"

"Art can never dissolve into communication, because it contains an incommunicable core that is the source of an infinity of interpretations. (p. 15)"

"The speculative bubble of that “art world,” which began in the late 1950s and was characterized by the cultural solemnization of the historical avant-garde, whose patron saint was Marcel Duchamp, has finally burst. It had created a cultural microenvironment that sought to continually renew itself for five decades, resorting to a whole series of more or less ephemeral fads that presented themselves under provocative names and were concerned only with maintaining the control of a few gallery owners, collectors, and rapacious mediators, with the complicity of public institutions, the right to legitimize and consecrate products that could only nominally be defined as “works of art,” but were in reality artistic fetishes. (p. 3)"

"If one of the specific aspects of philosophical thought is to think about its own object in its extreme outcomes, another more radical notion must be introduced into its premises and methods: ‘artification’. Nothing is ‘art’ in itself. It becomes so through many factors: the way in which the author thinks about his own activity, the work of hermeneutic mediation to which it is subjected, its reception by the public and critics, the manipulation to which the mass media subject it, and the preservation of what has been done. It follows that art is all this set of actions and reactions, theories and initiatives, objects and stories, documents and materials of the most varied kind. (p. 45)"

"The “fringe” turn in art does not only concern what is the object of its artisticization, but starts from an intuition that is itself “fringe,” and therefore has the ability to socialize, expand, and find resonance. It has a relationship of consonance, congeniality, and deep affinity with the internet and its viral effects. Unfortunately, those who are alternative or marginal tend to neglect or even detest technology, thinking that voluntary disconnection from networks is the best way to demonstrate the purity and authenticity of their ‘revolutionary’ choice. They do not realize the difference between the society of spectacle, which is anchored to traditional mass media communication (newspapers, radio, television), and the World Wide Web. (p. 47)"

"Artistic and theoretical strategies have so far sought to keep Outsider Art separate from institutional art. With the ‘fringe’ shift, this fundamental distinction has fallen away. (p. 66)"

"What does the question of the purpose of life have to do with aesthetic experience? Doesn't the teleological question belong rather to metaphysics or ethics? To say that the aesthetic question consists in reflecting on the meaning of individual and collective life seems provocative. Yet aesthetic reflection on life is precisely connected with this challenge: it therefore tends to identify itself not only with teleology, but also with the philosophy of history and metaphysics. Whether one affirms that life has meaning or denies it, the horizon within which this question is placed has, in contemporary times, very often been closely connected with aesthetics, which has thus had the audacity to pose the fundamental problem of existence. (p. 14)"

"Implicit in the concept of form is the reference to something objective and stable, which seems to suit the essence of the work of art very well: in the face of the continuous and unstoppable flow of time, the appeal to form manifests the urge to overcome the ephemeral, transitory, perishable nature of life. (p. 47)"

"In cognitive aesthetics, philosophy does not make the effort to understand what is other than itself, but seeks and finds itself. Self-reference, self-referentiality, and circularity seem to constitute their surreptitious presupposition: when speaking of other things, they are actually speaking of themselves, because ultimately they believe that true knowledge is self-awareness. It follows that the truth of the arts does not lie in themselves, but in the philosophy that interprets them or, better still, that philosophical thought is the bearer of a truth that art could not reach on its own, or at least of which it cannot be fully aware without the help of philosophy. (p. 85)"

"We launched Nykaa Fashion to meet two key market needs: the vast potential of the fashion industry and a growing consumer desire for a trend-focused, premium shopping experience. We've stayed true to this vision, focusing on curating a high-quality assortment and enabling discovery"

"The Tugela-Vaal and Orange-Fish being two major examples."

"A long tradition, dating back to the ancient Greeks, links art to action in various ways. In Homeric epos, the exploits of heroes constitute the content of the poems; in tragedy, the action takes place in the presence of the audience: both the former and the latter have an effect on the audience. Finally, poetic, artistic, and literary activity itself has often been thought of as a form of action, a particular type of action that is sometimes more effective than military, political, or economic action. In modern thought, it was Hegel who thought most deeply about the connection between art and action. (p. 121)"

"The sentiment of the twentieth century, on the other hand, moved in a direction opposite to aesthetic reconciliation, toward the experience of a conflict greater than dialectical contradiction, toward the exploration of the opposition between terms that are not symmetrically polar to each other. This whole great philosophical story, which I do not hesitate to consider the most original and important of the twentieth century, lies beneath the notion of ‘difference’, understood as non-identity, as a dissimilarity greater than the logical concept of diversity and the dialectical concept of distinction. (p. 158)"

"The importance of Burckhardt is not limited to the fact that he was among the first to realize the decline of the West. Added to this are three fundamental insights. The first concerns the recognition of the multiplicity of cultures. The decline of a civilization does not imply the end of the world: somewhere else, something new begins. In this respect, he can be considered the forerunner of a global aesthetic. (p. 196)"

"The purpose of Transiti is not to assert a kind of principle of indifference, but rather the opposite: non-identity, the difference of every reality with respect to itself, the flourishing of its virtuality, its becoming, its metamorphoses. The polemical objective of the book is, in essence, banality. In fact, the opposite of “transit” is “banal,” that which is perfectly adequate to itself, that which is incapable of transformation, that which remains identical in a state of complete and obtuse fixity. (p. II)"

"If we no longer recognize ourselves in a historical place, we do not even live in nostalgia for a place inhabited in the past or in hope for a place where we will live in the future. Past and future, homeland and utopia, seem to be ignored by an experience that knows only one time, the “present,” and only one place, the “presence,” and which takes place entirely “hic et nunc” (here and now). (p. 8)"

"Mario Perniola, Contro la comunicazione, Einaudi, Torino, 2004."

"Mario Perniola, Del Sentire, Einaudi, Torino, 2002 (first edition 1991)."

"Mario Perniola, Disgusti. Le nuove tendenze estetiche, Costa & Nolan, Genova, 1998."

"Mario Perniola, Enigmi. Il momento egizio nella società e nell'arte, Costa & Nolan, Genova, 1990."

"Mario Perniola, Il Sex appeal dell'inorganico, Einaudi, Torino, 2004 (first edition 1994)."

"Mario Perniola, L'arte e la sua ombra, Einaudi, Torino, 2000."

"Mario Perniola, L'arte espansa, Mimesis, Milano, 2015."

"Mario Perniola, L'estetica contemporanea. Un panorama globale, il Mulino, Bologna, 2011."

"Mario Perniola, Transiti, Cappelli, Bologna, 1985."

"I have always said there are no glass ceilings. I don’t think men are waiting to not allow women to do what they want. I think women have to want it for themselves. And if they want it for themselves, they will have it"

"The big question in the project is, what makes for a healthy child?"

"I have done research mainly between France and Switzerland."

"I interact with people across the world."

"It starts with children, how they are raised and educated."

"The stigma that girls are not good at Math starts when they are tiny."

"The language we use is important, still today I hear statements like"

"When a physicist does his analysis, he will."

"Who writes reference letters for young women should make sure that they promote all the skills and not only her soft skills."

"The people in charge have the responsibility to create an environment where all voices, even the less loud ones can express themselves and their ideas."

"Parental leaves should be respected and the responsibilities of women who return after a leave should be restored to them."

"Scheduling meetings after 17:00 will invertibility discriminate against young mothers and therefore should be avoided."

"I stop here, but there is so much more to say on this topic."

"I feel very proud. Especially for my family who was always supportive of my work."

"I was born and raised in Algiers, in high school I was in “Sciences Exact."

"I arrived in France in 1999 to start medicine."

"For various reasons medicine didn’t quite work out for me, so I started to study fundamental physics which I loved very much."

"I did the equivalent of bachelor and master."

"I did a PhD in particle physics between 2006 and 2009."

"I was a post-doc in EPFL."

"I was partly based at CERN."

"In 2012 I got a job in CNRS where I am now a “chargé de recherche."

"I am a member of the LHCb experiment. *Its one of the four experiments on the LHC ring at CERN."

"The main goal of our experiment is to study the difference between matter and anti-matter but also to look for signs of what we call physics beyond the Standard Model."