This paper examines the role of performance in law and music as a structural means of their self-programming construction. Music and law are considered as parallel social practices or performative doings. The paper begins with a critical analysis of the special aesthetical features of present-day juridical practice as exemplified by legal trial and legal expertise. Drawing upon reflections on the modern discourse on aesthetics and art, the article then examines in greater detail the specific traits of performance in law and (...) jazz music. Performative processes move from representation to presentation, from a preoccupation with rules and controlling to induced self-programming. Both law and jazz regard the unknown future as a resource for present decisions by “inventing” new possibilities; both require, expand and promote a responsibility that does not follow from statutes nor can be expressed in a code of ethics. Finally, the article addresses the performance situation in jazz. Jazz being polyphonic and improvisational by nature, improvisation makes explicit tradition by staging the context dependency of its performance. It is mediated by the knowledge, the operational history and the communication of the participants. Jazz is an exercise in the possibilities of an “aesthetics of imperfection” which can open up new ways of seeing law and politics. (shrink)

Talking of “medieval aesthetics” is historiographically disputable. During the Middle Ages, in fact, there is no discipline comparable with the aesthetics as from the eighteenth century we know it. In the medieval period, aesthetic considerations mostly occur in spurious contexts, and are all, so to say, pre-theoretical. They refer to different insights on what is the beautiful and what relationship holds between the beauty and its artistic expression. In the Middle Ages, that is, one can frequently encounters forms we would (...) nowadays call of descriptive aesthetics, occasionally forms of normative aesthetics, rather sporadically meta-aesthetic considerations. Not even a privileged attention is reserved to aesthetics understood as the description of the conditions of pleasure that follow from the perception of the beautiful, despite the theme of dilectum is important in the aesthetic meditations of medieval masters. Aesthetic discussions predominantly concern the relationships between the artist, an object and its representation. In this essay, I reconsider these relationships by discussing a key point of Thomas Aquinas’s reflection on the beauty: the role played by of the notion of representation in the explanation of the artistic process. (shrink)