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Emanuele Arielli
Istituto Universitario di Architettura (Venezia)
  1.  64
    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.  14
    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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  3.  27
    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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  4.  92
    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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  5.  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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  6.  16
    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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  7.  57
    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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