2017年3月2日，由意大利驻沪总领馆文化处与同济大学主办，同济大学中意学院、同济大学设计创意学院、同济大学上海国际设计创新学院共同承办的第一届“意大利全球设计日”活动将在世界各地同步举行，上海站活动落地我院，两位意大利专家将为大家带来精彩讲座。

“意大利全球设计日”活动旨在全球推广卓越的意大利制造背后强大的意大利设计软实力，同时提升对于意大利设计的了解和欣赏。活动的参与者包括高校、企业、培训机构、传媒、教授、设计师、工匠、艺术家等，活动将每年举办。

时间：2017/03/02（周四Thursday）18:00

地点：阜新路281号同济大学设计创意学院IS105“暗房”报告厅

281 Fuxin Road, Tongji University, College of Design and Innovation IS105 Lecture Hall

主讲人

白龙

Andrea Baldini

南京大学艺术研究院美学与艺术理论副教授，曾是南京大学人文社会科学高级研究院国际交流博士后研究员及“改变中国的视觉文化（Visual Culture in Changing China）”研究项目成员。

他从2015年起担任“金陵艺术家驻地计划（Jinling Artist-in-Residence Program）”协调员，致力于促进中国和意大利的文化交流。主要研究方向是艺术和美学哲学，尤其是与应用伦理、批判理论、形而上学、社会和政治哲学、公共政策以及视觉文化相交叉的研究领域，他所做研究的关键焦点是公共领域内社会参与的艺术实践，专注于公共艺术和街头艺术。他也是一名独立策展人，专攻跨文化交流。

Andrea Baldini is Associate Professor of Aesthetics and Art Theory at the Art Institute of Nanjing University. Previously, he was International Exchange Postdoctoral Fellow at the Institute for Advanced Studies in Humanities and Social Sciences at that same university where he was part of a research project entitled “Visual Culture in Changing China.” 

Since 2015, he is also the coordinator of the Jinling Artist-in-Residence Program, whose aim is to promote cultural exchange between China and Italy. His main research interest is in philosophy of art and aesthetics, especially at their intersection with applied ethics, critical theory, metaphysics, social and political philosophy, public policy, and visual culture. The critical focus of his research is on socially-engaged artistic practices in the public domain, with a concentration on public art and street art. Recently, he has published articles in the Journal of Visual Culture and The Journal of Aesthetics and Art Criticism. He is also an independent curator, specializing on cross-cultural communication.

演讲内容

柯兰那塔·拉德（Colannata Lard）在2011年失去了慢食主席团（Slow Food Presidium）的成员证书——该证书由卡尔洛·佩特里尼（Carlin Petrini）发起的提倡个性品质美食生产的慢食运动颁发。此事件引起了很大争议。尽管证书被撤销，来自北托斯卡纳大区马萨卡拉拉省（Massa-Carrara Province inNorthern Tuscany）的食品仍被视为意大利美食的象征，它仍受“受保护地理标志（PGI：Protected Geographical Indication）”法律的保护，而这一法律也一直致力于保护和促进欧盟区农业食品的卓越品质。

围绕柯兰那塔·拉德（Colonnata Lard）的争论衍生了另外一些与理解、保护及推进“意大利制造”美食相关的一些重要问题，其中有两个比较有趣，而且从哲学和概念角度出发，这两个问题与上述争论的关系也较为密切。第一个问题与描述相关，可将其表述为：“各种地理标志是如何运作的？”，即“描述性问题”。关于第二个问题，我们从托斯卡纳腌肉这一例子可以看出，事件已涉及条例规范，因此我们可将第二个问题表述为：“地理标志应该如何发挥作用？”，即“规范性问题”。

在此次介绍中，我们会谈到“描述性问题”和“规范性问题”，分析“意大利制造”，并以此为大背景展开讨论，为更好地理解、欣赏和促进意大利高品质美食生产提供借鉴。我们的目的不仅仅局限于从哲学趣味方面对地理标志进行狭隘的讨论，而是要提出方案以促进相关法律保护美食的卓越性。在演讲的第一部分，我们回答“描述性问题”，突出了当前立法的哲学根源。第二部分中，我们会强调那些法律的主要缺点并做出纠正。这一纠正被称为“生产的生态参数（ecological parameter of production）”，它在食品生产中引入了数量限制，这一举措对于促进美食的卓越性来说至关重要。

In 2011, Colonnata Lard has lost its certification as Slow Food Presidium –awarded by Carlin Petrini’s movement to productions of distinct quality. This in turn has generated a harsh controversy. In spite of this decision, this product coming from the Massa-Carrara Province in Northern Tuscany remains an icon of Italian gastronomy. And it still protected under the Protected Geographical Indication (PGI) law, which protect and promote excellence inagriculture and food stuff in the European Union. 

The controversy surrounding the Colonnata Lard raises important questions related to the understanding, defense, and advancement of Made in Italy in gastronomy. Two questions interest use here. We consider them as particularly relevant from a philosophical and conceptual standpoint. The first one deals with descriptive concerns and one can formulate it as follows: “How do the various geographical indications function?”. Call this descriptive question. The second issue that the case of the Tuscan cured meat suggests touches on normative concerns and could be expressed in terms of the following question: “How should geographic in dications function?”. Call this normative question.

In this presentation, we address both the descriptive and the normative question, placing our discussion within the context of an analysis of Made in Italy while drawing implications for what pertains to the understanding, appreciation, and promotion of Italian high quality gastronomic production. For this reason, our goal is not limited to a narrow discussion of philosophical intriguing aspects of geographic indications. We intend to develop a proposal that can pertinently inform laws on laws protecting excellence in gastronomy. In the first section of the talk, we answer the descriptive question, emphasizing the philosophical roots grounding current legislation. In the second section, we highlight the main short comings of those laws and introduce an important corrective. We call it such a corrective ecological parameter of production. Such a parameter introduces quantitative limitations in food production, which we take as essential in promoting gastronomic excellence.

主讲人

丹尼尔勒·巴里柯

Daniele Balicco

理论与批判研究学教授，任教于巴黎的法国社会科学高等学院（EHESS）和罗马的欧洲设计学院（IED），研究领域有文化史、美学和政治经济学。

他的第一本著作（《我不和别人说话——政治知识分子弗朗克·福尔蒂尼（Non parlo a tutti. Franco Fortini intellettuale politico）》，Manifestolibri出版社，罗马，2006年）重现了弗朗克·福尔蒂尼的政治生涯。丹尼尔勒从这本书开始分析知识分子工作、政治权力和文化产业之间的联系。他的下一部著作也将围绕这些主题展开，下一部著作是一本致力于对爱德华德·赛德（Edward Said）形象进行专题报道的杂志《讽刺（Allegoria）》（《政治战争和爱德华·赛德的美学反思（Lotta politica eriflessione estetica in Edward Said）》，Palumbo出版社， 2014年）。

2016年，他领头为Palumbo出版社写了一部关于意大利制造和意大利文化身份的集册（《意大利制造与文化——意大利当代身份调查（Made in Italy e cultura.Indagine sull’identità italiana contemporanea）》，Palumbo出版社，2014年）。此外，丹尼尔勒·巴里柯还是报纸《宣言（Il Manifesto）》和文化批判网站“话语与事物（Le parole e le cose）”的自由记者。

Daniele Balicco is Lecturer in Theory and Critical Studies at the EHESS (École desHautes Études en Sciences Sociales) of Paris and at the IED (European Instituteof Design) of Rome. His theoretical work lies between cultural history,aesthetics and economics. 

In his first book - Non parlo a tutti. Franco Fortini intellettuale politico/I Don't Speak to Everyone. Franco Fortini, a PoliticalIntellectual (Roma, 2006) - he analyzed the relationship between political power, the aesthetic dimension and financial capital. He has continued to focuson this topic as the editor of a special issue of Allegoria (2014) devoted to Edward Said as a political thinker - Lotta politica e riflessione estetica in Edward Said / Edward Said between Politics and Aesthetics. 

These themes are also central to his more recent work as editor of the volume Made in Italy e cultura. Indagine sull'identità italiana contemporanea (Made in Italy and Culture. Inquiry into the Contemporary Italian Identity, Palumbo 2016). He also works as a freelance journalist for the newspaper Il Manifesto.

演讲内容

在设计和国家身份之间建立一种明确的联系不是一件容易的事。近几十年，领土与文化传统间的连续性变得复杂、困难和失调，被强行全球化。但不能忽略的是，的确有一些国家比其他国家更善于在国际市场上表达自己的标志性风格，这些标志性风格往往具有鲜明的特色。从这个角度看，意大利可以说是一个非常有趣的范例。

自二十世纪五十年代起，意大利设计在国际市场上一直被认为是对欧洲严格现代化美学的反抗。意大利设计精细、简洁、诙谐，具有新手工业和享乐主义特点，这种风格迅速抓住了西方尤其是北美的审美品味。意大利设计在意大利其他重要出口产业中均有体现——时尚、食品、电影，为意大利文化在国际上展现现代化身份做了许多贡献。

意大利设计的一个显著特征是它的矛盾性。意大利设计反复呈现的那些特点可以被理解为现实工业化年代里对手工业生活形式的怀念；又或者被理解为是愉快反抗西方现代标准化严肃风格的一种标志。

It is not easy to determine a univocal relationship between design and nationalidentity. Especially today, where the link between territories, cultural training, creation and production of objects is extremely open and globalized .Nevertheless, it can not be ignored that some countries have been able to create a distinct and recognizable style in the international market. In this regard,the Italian case is very challenging.

Its seductive profile can be in part described in connection to its specific cultural history and geography: the nature of the relatively small, but extremely heterogeneous Italian territory lying for centuries at heart of the Mediterranean cultural exchanges; the enigmatically artificial nature of the Italian language and its intimate relation to an international tradition of music; the history of Italian craft traditions and their relationship with the myth of the Renaissance as an archeology of modernity; the relatively late clash of the Italian culture and society with industrial modernity; and the peculiar theoretical training of Italian designers (mostly architects) and their ideological link withanti-establishment movements. Through the intersection of all these"traces", it may be possible to qualify the multidimensional nature of the Italian style as a "pleasurable" form of modern life.