Suchergebnisse

Drawing on a critical overview of Jay David Bolter's volume Digital Plenitude (2019), the essay aims to provide a contribution to the theoretical debate on user experience design in the system of digital image displacement that is definable as "visual plenitude." The starting hypothesis is that today's visual plenitude – characterized by the hybridization of high and popular culture, old and new media, conservative and radical political instances – promotes self-reflective user experiences and forms of trainings to its very visual procedures. In particular, by navigating along the epistemological dichotomies identified by Bolter (catharsis/flow, originality/remix, spontaneity/procedurality, history/simulation), and by using the tools of software and visual studies, we will examine an "imaginary media" presented in the episode of the animated series Rick & Morty (Adult Swim, 2015-) titled The Vat of Acid Episode (2020), where Rick builds his nephew Morty a remote control that allows him to save and reload moments of his real life. The story of this device is considered as an example of "visual training" which guides the character and the spectators through the power relations among forms of audiovisual narration and strategies of capitalization of the imaginary, transparent uses and fantasies linked to digital display devices and invisible and material consequences linked to their global usage. ; Partendo da una ricognizione critica del volume Plenitudine digitale di Jay David Bolter (2019), il saggio intende fornire un contributo al dibattito teorico sull'esperienza utente nel sistema di produzione e disposizione delle immagini digitali che è definibile come "plenitudine visuale". L'ipotesi di partenza è che l'odierna plenitudine visuale - caratterizzata dall'ibridazione fra cultura alta e popolare, vecchi e nuovi media, istanze politiche conservatrici e radicali - promuova esperienze utente di auto-riflessione e addestramento alle stesse procedure visuali. In particolare, navigando lungo le dicotomie epistemologiche individuate da Bolter (catarsi/flusso, originalità/remix, spontaneità/proceduralità, storia/simulazione), e adoperando gli strumenti dei software e visual studies, si prenderà in esame un "media immaginario" presentato nella puntata della serie animata Rick & Morty (Adult Swim, 2015-) intitolata The Vat of Acid Episode (L'episodio della vasca d'acido, 2020), dove Rick costruisce al nipote Morty un telecomando che gli permette di salvare e ricaricare istanti della propria vita reale. La storia di questo device è inquadrata come oggetto di training visuale per guidare il personaggio e lo spettatore fra le relazioni di potere che intercorrono tra forme del racconto audiovisivo e strategie di capitalizzazione dell'immaginario, utilizzi trasparenti e fantasie legate ai dispositivi di visione digitali e conseguenze invisibili e materiali connesse al loro utilizzo globale.

William Penn's place in the history of political philosophy is both unique and peculiar. His works raised the interest of contemporary thinkers such as Voltaire and Montesquieu, who also praised his practical contribution as legislator for the British colony of Pennsylvania as well as peacemaker with the Native people of North America. After falling into relative oblivion over the course of the Nineteenth Century, Penn's figure attracted renewed scholarly interest in the 1920s and '30s, at the height of totalitarianism, when he was newly appreciated as an early prophet of pacifism, Europeanism, and cosmopolitanism. In 1979, almost three centuries after the publication of his project for European peace, Penn's ideas were at least in part realized with the first direct election of the European Parliament. Today, his works are still worth considering, particularly for his thoughtful reflections on the aristocracy of merit or virtue, a subject at the very core of his thinking.

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

Il posto di William Penn nella storia della filosofia politica è al tempo stesso unico e peculiare nel suo genere. Le sue opere hanno suscitato l'interesse di pensatori contemporanei come Voltaire e Montesquieu, che ha anche elogiato il suo contributo pratico come legislatore per il Regno Unito, fondatore della colonia della Pennsylvania e pacificatore con i nativi del Nord America. Dopo essere caduto nell'oblio nel corso dell'Ottocento,la figura di W. Penn ha attirato un rinnovato interesse scientifico negli anni '20 e '30, al culmine del totalitarismo del secolo scorso, quando è stato recentemente apprezzato come un primo profeta del pacifismo, dell'europeismo e del cosmopolitismo. Nel 1979, quasi tre secoli dopo la pubblicazione del suo progetto per la pace in Europa, le idee di Penn sono state almeno in parte realizzate con la prima elezione diretta del Parlamento europeo. Oggi, le sue opere meritano ancora di essere prese in considerazione, in particolare per le sue riflessioni meditate sull'aristocrazia del merito o della virtù, un argomento al centro del suo pensiero. ; William Penn's place in the history of political philosophy is both unique and peculiar. His works raised the interest of contemporary thinkers such as Voltaire and Montesquieu, who also praised his practical contribution as legislator for the British colony of Pennsylvania as well as peacemaker with the Native people of North America. After falling into relative oblivion over the course of the Nineteenth Century, Penn's figure attracted renewed scholarly interest in the 1920s and '30s, at the height of totalitarianism, when he was newly appreciated as an early prophet of pacifism, Europeanism, and cosmopolitanism. In 1979, almost three centuries after the publication of his project for European peace, Penn's ideas were at least in part realized with the first direct election of the European Parliament. Today, his works are still worth considering, particularly for his thoughtful reflections on the aristocracy of merit or virtue, a subject at the very core of his thinking.

Broadly speaking, this work is framed within Cultural Studies. This current of thought, born in Great Britain in the 1960s from the works of R. Hoggart, S. Hall, and R. Williams, invites us to question the notion of culture in all its dimensions, evidencing political, ideological, and power issues. According to Cultural Studies, the concept of text designates not only that of written language, but all cultural production, including image.In keeping with this perspective, the object of study, that is Lorenzo Viani's work, is undertaken through a transdisciplinary approach. The texts, or in this case images, are worked on aided by a crossover of contributions by different disciplines, such as Sociology, Philosophy, Aesthetics, Art History, Literature Theories, Mediology, and Semiotics.Because of this, the main corpus, as in all of Viani's published works, once achieved the first stage of literal comprehension of the texts which required a philological approach, was analysed in an open manner, considering of society, history, and relationships with cultural phenomenons from which they originate. In first place, the thesis deals with an in-depth study of Viani's biography. We have reconstructed in detail his intellectual education and the network of relationships which Viani, who was a very active character in the political and cultural scene of Versilia in his time, built and nurtured throughout his life.Taking into account the fact that Viani, one of many talents, began his artistic endeavors as painter and illustrator, and that he devoted himself to writing (journalistic and literary) in a subsequent phase, we have given weight to the dimension of image in our analyses of his texts. We use the concept of "spoken image", going by W.J.T. Mitchell's definition. That is to understand where these images come from, why Viani chose them, and if they have an aesthetic function or one of another nature. The objective is a comparative analysis between word/spoken image. We aim to examine if the general idea that Viani has ...

Broadly speaking, this work is framed within Cultural Studies. This current of thought, born in Great Britain in the 1960s from the works of R. Hoggart, S. Hall, and R. Williams, invites us to question the notion of culture in all its dimensions, evidencing political, ideological, and power issues. According to Cultural Studies, the concept of text designates not only that of written language, but all cultural production, including image.In keeping with this perspective, the object of study, that is Lorenzo Viani's work, is undertaken through a transdisciplinary approach. The texts, or in this case images, are worked on aided by a crossover of contributions by different disciplines, such as Sociology, Philosophy, Aesthetics, Art History, Literature Theories, Mediology, and Semiotics.Because of this, the main corpus, as in all of Viani's published works, once achieved the first stage of literal comprehension of the texts which required a philological approach, was analysed in an open manner, considering of society, history, and relationships with cultural phenomenons from which they originate. In first place, the thesis deals with an in-depth study of Viani's biography. We have reconstructed in detail his intellectual education and the network of relationships which Viani, who was a very active character in the political and cultural scene of Versilia in his time, built and nurtured throughout his life.Taking into account the fact that Viani, one of many talents, began his artistic endeavors as painter and illustrator, and that he devoted himself to writing (journalistic and literary) in a subsequent phase, we have given weight to the dimension of image in our analyses of his texts. We use the concept of "spoken image", going by W.J.T. Mitchell's definition. That is to understand where these images come from, why Viani chose them, and if they have an aesthetic function or one of another nature. The objective is a comparative analysis between word/spoken image. We aim to examine if the general idea that Viani has ...

This article discusses the countercultural artistic expressions of the late 1960s as a transcultural phenomenon. These artistic expressions are the result of a network of ideas and trends, with an aesthetic born from the interchange among its participants. Despite its innovative character and the impact at the time, the relation of countercultural artistic practices within Art History is complex, not fitting into any precise artistic category or style. The 1960s, stage of several social and political revolutions around the world, saw the rise of manifestations such as Psychedelia. The decade was also noted for an increment on migrations, with more people being able to travel overseas, leading to the fading of geographical, social, and mental barriers. With more connections and means for traveling, more countercultural artists and young participants, from all social ranges, had the opportunity to go abroad and overseas. That increased the attendance at events, from rallies to psychedelic gatherings, influencing music and other countercultural artistic performances, including graphic design, painting, or light shows. Following the border-crossing tradition of the Beat Generation that got inputs from places such as Mexico, France, and even Russia years before, counterculture's participants created a multicultural mosaic composed by music, poetry, visual arts, and graphic design. From the analysis of the mobility of prominent counterculture figures such as Allen Ginsberg, Timothy Leary or the Beatles, as well as of the artistic expressions, it is possible to map the countercultural artistic flows during the late 1960s between the United States, Britain, and beyond. However, the transcultural combination of influences and trends, often boosted by hallucinatory substances, may explain why countercultural artistic practices such as Psychedelia got distant from Art History. ; L'articolo affronta l'analisi delle espressioni artistiche controculturali della fine degli anni '60 in quanto fenomeno transculturale. Tali espressioni sono il risultato di una rete di idee e tendenze fondata su un'estetica nata proprio dall'interscambio tra i suoi protagonisti. La relazione tra le pratiche artistiche controculturali e la storia dell'arte è complessa, poiché esse non si adattano ad alcuna categoria artistica o stile, nonostante il loro carattere innovativo e l'impatto che hanno avuto sul contesto. Gli anni '60, teatro di numerose rivoluzioni politiche e sociali in tutto il mondo, hanno visto l'avvento di manifestazioni come Psychedelia. Il decennio è stato anche importante per l'incremento delle migrazioni che ha influito sull'attenuazione delle barriere geografiche, sociali e mentali. L'aumento di collegamenti e di mezzi di trasporto ha consentito ad un numero maggiore di artisti, appartenenti a contesti sociali differenti, di viaggiare e di andare all'estero. Ciò ha aumentato la partecipazione a eventi, dai raduni agli incontri psichedelici, influenzando la musica e altri ambiti affini tra i quali il graphic design e l'illuminotecnica. Seguendo la tradizione del passaggio di frontiera della Beat Generation, la controcultura ha creato un mosaico multiculturale nel quale musica, poesia, arti visive, grafica si sono intrecciate. Dall'analisi di figure della controcultura, come Allen Ginsberg, Timothy Leary o i Beatles, così come delle espressioni artistiche, è possibile ricostruire i flussi artistici controculturali della fine degli anni '60 tra Stati Uniti, Gran Bretagna e altrove. Tuttavia, la combinazione transculturale di influenze e tendenze, spesso amplificata da sostanze allucinatorie, può spiegare perché le pratiche artistiche controculturali come Psychedeliaabbiano preso le distanze dalla storia dell'arte istituzionale.

L'evolució històrica de la Mediterrània formulada per Henri Pirenne encara marca una part de la historiografia. La progressiva desmembració de l'imperi romà i, sobretot, les crisis de l'imperi de Bizanci varen facilitar la ràpida expansió de l'Islam i, com a conseqüència, la progressiva conversió del Mare Nostrum pràcticament en un mar islàmic. Davant d'aquesta perspectiva, el cristianisme va girar el seu horitzó marítim cap les costes dels mars del nord de la Península i d'Europa. Un dels propòsits de les sobiranies europees es va centrar en la recuperació de les costes mediterrànies i de Terra Santa. Malgrat tot, alhora que els regnes cristians desembarcaven al nord d'Àfrica sucumbia per sempre Bizanci

The article aims to discuss the socio-political action of two contemporary musical performances produced in Poland. In particular, the author questions the specific function of the space, created by the visual artist Mirosław Bałka, in relation to the compositions by musician Paweł Mykietyn. In both cases they are adaptations of literary works (Pan Tadeusz by Adam Mickiewicz, 1834, and Der Zauberberg by Thomas Mann, 1924) and in both cases it is the process of media transposition that rewrites the terms of cultural and identity discourse. Balka's design proposes, in a non-didactic way, traumatic images that are already well established and codified in the European collective memory and creates, in the fleeting time of the performance, a democratic and open structure, in which the memory of the defeated also participates. ; L'articolo si propone di discutere l'azione socio-politica di due performance musicali contemporanee prodotte in Polonia. In particolare, l'autore si interroga sulla funzione specifica dello spazio, creato dall'artista visivo Mirosław Bałka, in relazione alle composizioni del musicista Paweł Mykietyn. In entrambi i casi si tratta di adattamenti di opere letterarie (Pan Tadeusz di Adam Mickiewicz, 1834, e Der Zauberberg di Thomas Mann, 1924) e in entrambi i casi è il processo di trasposizione mediatica a riscrivere i termini del discorso culturale e identitario. Il progetto di Balka propone, in modo non didascalico, immagini traumatiche già consolidate e codificate nella memoria collettiva europea e crea, nel tempo fugace della performance, una struttura democratica e aperta, alla quale partecipa anche la memoria degli sconfitti.

Through the lens of visual culture studies, images can be investigated according to their "positions" on contemporary history as political instruments of human understanding. Images of borders, in particular, acquire special importance in the dialectics between visible and invisible – subjects and objects, ego and alter – and can shape a symbolic relation towards the otherness. Within the European culture and the various representations of migrants, media can contribute to rebuilding the notion of heterotopia by avoiding iconoclasm while implementing an ethical gaze and authentic comprehension about those global individuals that are reorganizing our World-Society.