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Emanuele Arielli
Istituto Universitario di Architettura (Venezia)
  1. Is beauty in the folk intuition of the beholder? Some thoughts on experimental philosophy and aesthetics.Emanuele Arielli - 2018 - Rivista di Estetica 69:21-39.
    In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and a “broad” approach of experimental philosophy, I (...)
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  2. AI-aesthetics and the Anthropocentric Myth of Creativity.Emanuele Arielli & Lev Manovich - 2022 - NODES 1 (19-20).
    Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that this is (...)
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  3. Sharing as speech act.Emanuele Arielli - 2018 - Versus 127:243-258.
    Social media platforms allow users to perform different speech acts: status updates could be assertives, a like is an expressive, a friendship request is a directive, and so on. But sharing (or "retweeting") seems to lack a fixed illocutive status: this explains why present controversies concerning the sharing of misinformation have been debated in legal procedure and discussed from the point of view of personal responsibility without reaching a general consensus. The premise of this paper is that the diffusion of (...)
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  4. AI-aesthetics and the artificial author.Emanuele Arielli - forthcoming - Proceedings of the European Society for Aesthetics.
    ABSTRACT. Consider this scenario: you discover that an artwork you greatly admire, or a captivating novel that deeply moved you, is in fact the product of artificial intelligence, not a human’s work. Would your aesthetic judgment shift? Would you perceive the work differently? If so, why? The advent of artificial intelligence (AI) in the realm of art has sparked numerous philosophical questions related to the authorship and artistic intent behind AI-generated works. This paper explores the debate between viewing AI as (...)
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  5.  88
    Human Perception and The Artificial Gaze.Emanuele Arielli & Lev Manovich - forthcoming - In Artificial Aesthetics.
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  6. Techno-animism and the Pygmalion effect.Emanuele Arielli & Lev Manovich - forthcoming - Http://Manovich.Net/Index.Php/Projects/Artificial-Aesthetics.
    Chapter 3 of the ongoing publication "Artificial Aesthetics" Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering how AI will affect your professional area in general and your work and career. Our book (...)
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  7. “Even an AI could do that”.Emanuele Arielli - forthcoming - Http://Manovich.Net/Index.Php/Projects/Artificial-Aesthetics.
    Chapter 1 of the ongoing online publication "Artificial Aesthetics: A Critical Guide to AI, Media and Design", Lev Manovich and Emanuele Arielli -/- Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering how (...)
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  8. Taste and the algorithm.Emanuele Arielli - 2018 - Studi di Estetica 12 (3):77-97.
    Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are (...)
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  9. Coolness, Aesthetic Agency and Self-Construction.Emanuele Arielli - 2020 - Zonemoda Journal 1 (10):15-22.
    The notion of coolness is connected with a broad range of different meanings that involve personal attitude, taste, fashion choices but also the recognition of uniqueness and authenticity by others. Moreover, coolness is related to self-confidence and imperturbability, as the usual historical reconstructions of its meaning show. In fact, the manifestation of subjective invulnerability is the expression of the general need to avoid any weakness that could challenge one’s own autonomy through other people’s gaze. In other words, the opposite of (...)
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  10. The polarized image: between visual fake news and “emblematic evidence”.Emanuele Arielli - 2019 - Politics and Image.
    In this paper, a particular case of deceptive use of images – namely, misattributions – will be taken in consideration. An explicitly wrong attribution (“This is a picture of the event X”, this not being the case) is obviously a lie or a mistaken description. But there are less straightforward and more insidious cases in which a false attribution is held to be acceptable, in particular when pictures are also used in their exemplary, general meaning, opposed to their indexical function (...)
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  11. Strategies of irreproducibility.Emanuele Arielli - 2019 - Proceedings of the European Society for Aesthetics 11:60-76.
    In this paper I focus on the topic of reproducibility (and irreproducibility) of aesthetic experience and effects, distinguishing it from the traditional subject of artifact reproducibility. The main aim is to outline a typology of the various kind of irreproducibility of aesthetic experience and to draw some implications for the aesthetic discussion concerning contemporary art. Depending on the type of artwork, we can define the difference (or the “ratio”) between aesthetic experience in the presence of the artwork and aesthetic experience (...)
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  12. The anxieties of control and the aesthetics of failure.Emanuele Arielli - 2021 - Studi di Estetica 19 (1).
    For many contemporary artists, failure has been an instrument of experimentation and self-expression, of investigation into existential questions and manifestation of utopian tensions. In this paper, I will discuss how some of the well-known strategies of experimental and avant-garde artistic practices with failure involve risky actions, challenging or impossible attempts, loss of control, and compulsive repetition of inconclusive acts. In those experimentations, the ideal model of an effective and successful action performance (in which a goal is defined through a clear (...)
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  13. Thinking about complex mental states: language, symbolic activity and theories of mind.Emanuele Arielli - 2012 - In Sign Culture Zeichen Kultur. Würzburg, Germania: pp. 491-501.
    One of the most important contributions in Roland Posner’s work (1993) was the extension and development of the Gricean paradigm on meaning (1957) in a systematic framework, providing thus a general foundation of semiotic phenomena. According to this approach, communication consists in behaviors or artifacts based on reciprocal assumptions about the intentions and beliefs of the subjects involved in a semiotic exchange. Posner’s model develops with clarity the hierarchical relationships of semiotic phenomena of different complexity, from simple pre-communicative behaviors (like (...)
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