The article connects the forms of contemporary TV series with the narrative and participatory logics of contemporary media. In particular, the author proposes to consider the wide diffusion and popularity of TV series as a form of response and adaptation to the contemporary media condition. The article proposes an analysis of the ways in which the human instinct for storytelling finds form in contemporary participatory media practices. This reflection is situated within the broader debate on post-cinema and the ways in (...) which new technologies have transformed cinema and audiovisual products. This theoretical perspective is related to the well-known twentieth-century philosophical reflection on the status of narration. TV series, therefore, are a response to the “call for concordance” (Ricœur) that is nowadays more evident than ever. Yet there seems to be a sort of paradox here, that characterises the TV series aesthetic experience: in the process of accomplishing this concordance, by creating solid and unitary world, TV series adapt that transmedia aesthetic (Jenkins) of fragmentation that is typical of contemporary media logic. At the end the author discusses some examples. (shrink)

This article aims to outline the fundamental concepts that characterize blockchain technology in order to allow for a better understanding of how it is structured within the protocols which govern the internet, but also to portray the devices which allow its re-appropriation by capitalist culture. The theoretical foundations of this article are supported by a medio-archaeological position that allows us to acquire a technical look at the blockchain, but also to weave historical and aesthetic parallels in order to understand the (...) NFT phenomenon, at the core of current economic issues and speculations. (shrink)

ABSTRACTIn this paper I critically analyze the work of Shepard Fairey, the street artist better known as OBEY, as a multimodal discourse. After introducing the notion of street art, I analyze Fairey’s aesthetics, inspired in Pop Art and Soviet Constructivism, as well as his accounts on his own art, in order to unveil his ideology. I then discuss a particular case, concerning the pastiche of the Che Guevara’s image. I will show that the seemingly subversive nature of OBEY’s work, is (...) nothing more than marketing. Consequently, by industrially producing and commodifiying dissent, OBEY banalizes and deactivates it. According to the dichotomy between oppositional and emergent discourses, I conclude that OBEY enacts only an oppositional behavior. Moreover, by ‘manufacturing propaganda dissent’, OBEY performs protest, but in doing so he contributes to perpetuating the system he says he fights against. (shrink)

3D printing has surely come of age. Widely available, and integrated into many computer-based design and animation curricula, it almost seems to have become a simple extension of what we already had in 2D printing. A 2D image acts as the basis of a sign, which, perhaps upon further twists of the semiotic spiral, may lead one to cognition of a 3D physical pipe. But then, perhaps not. And only in a rare case would the physical pipe in turn find (...) use as a sign of the aforesaid 2D image. With 3D printing, this order of semiosis no longer applies. Since 3D printing mainly occurs as a non-mass-production manufacturing technique, a 3D-printed artifact acts as a physical object – and generally it is printed to act precisely in that manner. It is a being that has an ontic difference from its digital source. The case of 3D printing provides an intriguing, complex, case study for semiosis, since the printables move in and out of the virtual and physical. (shrink)

"In 2022, two cans of tomato soup were thrown over Van Gogh’s Sunflowers at the National Gallery in London by two climate activists. The aim of this paper is not to explain the motives behind the protest in terms of environmental activism, but to address the implications of this phenomenon for the status of artistic images in our time. The protest in question is one of the many symptoms of the fact that images associated with a pure state of gaze (...) have become morally dubious due to a certain moralistic turn in contemporary discourses on art. Consequently, what seems to be lost in today’s movements of moralizing aesthetics, whether in art or in environmental activism, is not only the “aura” of an artwork, but also the idea that the contemplation of beauty in and for itself would provide a foundation for humans’ moral vocation. In a gaseous state of art (Y. Michaud) in which the transient effects of things are more important than their essence, the moralistic tendencies combined with the lack of moral foundations can no longer conceive of the ethical effects of images without explicit moral content, thus calling for a new form of heteronomy in art. Keywords: Kantian aesthetics, ethics, contemplation, natural beauty, autonomy of art, environmental activism. ". (shrink)