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This paper builds on the concept of 'tagging aesthetics' (Bozzi, 2020b) to discuss new media art projects that combine machine vision and social media to address how different kinds of socio-technical subjects are assembled through AI. The premise outlines how the naturalisation of machine vision involves a range of subjects, juxtaposed along different conflictual lines: ontological (human-machine), biopolitical (classifier-classified), socio-technical (tech worker-data cleaner), political (AI-viewing public). Embracing the ambiguity inherent in the shifting boundaries of these subjects, I analyse works by different new media artists who approach one or more of these juxtapositions by engaging with diverse forms of tagging. The practice of tagging is often discussed through data-driven analyses of hashtags and how related publics can be mapped, but in my framework, tagging can encompass a wider spectrum of techno-social practices of connection (e.g. geotagging, tagging users). I discuss artworks by Kate Crawford and Trevor Paglen, Dries Depoorter and Max Dovey to illustrate how these practices can be leveraged artistically to make visible and even 'stitch together' the manifold subjects of machine vision. I explain how those taggings denaturalise processes of socio-technical classification by activating awareness, if not agency, through the sheer proximity they enact. Far from being a tool to map knowledge and essentialised identities, tagging aesthetics are ways to perform the techno-social and shape future cultural encounters with various forms of others. By exploring different approaches to tagging aesthetics – (dis)identification, semi-automated assembly and embodied encounter – this paper illustrates how tagging can be used to culturally negotiate the impact of machine vision in terms of issues such as surveillance and the performance of digital identity.

Abstract
This contribution analyses the change in the conception of taxation which occurred in Italy during the aftermath of World War II. From being a neutral mechanism to collect state revenue, in this period taxation became seen as a powerful political tool to redistribute income and wealth. The article primarily relies on material collected by the Economic Commission of the Ministry for the Constituent Assembly set up in 1945, a unique source which offers a comprehensive overview of the different conceptions of taxation at the time. Drawing upon their different economic and political ideologies, liberal economists and entrepreneurs, Christian Democrats, and Communists formulated alternative tax programmes. While liberal economists and entrepreneurs advocated the maintenance of the existing tax system on technical grounds, the Christian Democrats imposed a new conception of taxation as a means for income redistribution. Progressive and redistributive taxation was also present in the Communist programme, but their ambiguous tax views suffered from the lack of administrative and economic experience which liberal and Catholic economists had instead gathered before and partially even during the Fascist regime. The debate ended abruptly in 1947 with the exclusion of the left from government and the success of liberal conceptions. Nonetheless, during the 1960s, the Catholic emphasis on progressive and redistributive taxation incorporated the new Keynesian ideas on public finance and achieved a hegemonic position in the public debate, thus overcoming the traditional liberal view.

As opposed to traditional nomads, backpackers, or tourists, digital nomads are defined as Internet-enabled remote workers, who maintain a focus on connectivity and productivity even in leisure. This essay discusses the relationship between Instagram and the digital nomad from a theoretical perspective, proposing a critique of the aesthetics and urban politics that underlie this figure. Inspired by recent theories that combine geopolitical and technological insight with a speculative approach, the paper positions the digital nomad as a cultural avatar of contemporary neoliberalism, which celebrates a depoliticised aesthetics of work and helps establish a material geography of globalisation through social media. In particular, the essay leverages the concept of tagging (not only intended as the use of hashtags like #digitalnomad, #solotraveller, or #remotework, but also geotagging) as a tool for cultural critique, discussing Instagram as a key site of intersection between the imaginary appeal of the travelling entrepreneur and the material effects of globalised gentrification. The conclusion provocatively suggests that, with the increasing economic and geopolitical influence of digital nomadism, Instagram might become a site of negotiation of the figure's culture and aesthetics, potentially steering them towards a more radical reimagination of borders and life beyond work. By offering a cultural critique of the digital nomad, the essay contributes to critical discourse on Instagram as a cultural platform.

Social media have given social movements unprecedented tools for self-representation, however emancipatory identity politics are drowned out by the white noise of neoliberal self-branding practices. In response to this highly- aestheticised, de-politicised environment, we need a cultural re-negotiation of online categorisation. Rather than focusing on networks, this essay frames tagging as an everyday gesture of social media users that participates in the collective performance of identity. I argue this performance gives way to the materialisation of 'cultural avatars' – collective identity figures that lie beyond coherent representation and can reinforce reductive social stereotypes or inspire politically critical figurations. Apart from offering a cultural critique of tagging itself, the essay discusses a range of creative approaches to tagging that de-naturalise processes of online categorisation by drawing critical attention towards them.

Alexander Zevin: Liberalism at Large - The World According to the Economist. London: Verso Books 2019. 9781781686249