The Selfie and the Low-Resolution Self: Beyond Foucault’s Technologies of the Self

The article discusses Foucault’s «technologies of the self» by reconsidering the link between ethics and aesthetics in this paradigm, with a view to its possible application to selfie technology as a «gestural image» (Frosh). This reconsideration stems from a close examination of the self as understood by the concept of technologies of the self, emphasizing also the aesthetic aspects of its rationality and of its phenomenological dimension. The article also highlights how technologies of the self fail to overturn the logic of domination, which is still present in Foucault’s formulation and is likewise evident in «performative» interpretations of both Foucault’s technologies of the self and of the techno-social phenomenon of the selfie. From this perspective, the article proposes not to consider the «self of the selfie» as a mere support for self-narrative or as a product of performative action, but rather to view it as a «low-resolution self». In displaying itself through an act of outward projection within often complex situations and environments, this «low-resolution self» embodies a new ethos of coexistence and connectivity. On this basis, the question of interpreting the selfie phenomenon as a technology of the self shifts into a broader inquiry, where the focus moves from a technology of the self to an ecology of the self.The article discusses Foucault’s «technologies of the self» by reconsidering the link between ethics and aesthetics in this paradigm, with a view to its possible application to selfie technology as a «gestural image» (Frosh). This reconsideration stems from a close examination of the self as understood by the concept of technologies of the self, emphasizing also the aesthetic aspects of its rationality and of its phenomenological dimension. The article also highlights how technologies of the self fail to overturn the logic of domination, which is still present in Foucault’s formulation and is likewise evident in «performative» interpretations of both Foucault’s technologies of the self and of the techno-social phenomenon of the selfie. From this perspective, the article proposes not to consider the «self of the selfie» as a mere support for self-narrative or as a product of performative action, but rather to view it as a «low-resolution self». In displaying itself through an act of outward projection within often complex situations and environments, this «low-resolution self» embodies a new ethos of coexistence and connectivity. On this basis, the question of interpreting the selfie phenomenon as a technology of the self shifts into a broader inquiry, where the focus moves from a technology of the self to an ecology of the self

Inverted Ekphrasis and Hallucinating Stochastic Parrots: Deleuzean Insights into AI and Art in Daily Life

  This study explores the potential of contemporary large language models (LLMs) to achieve Gilles Deleuze’s goal of integrating art into daily life. Deleuze’s philosophy, with its focus on creative repetition, finds a parallel in LLMs, which replicate and innovate artistic styles by transforming text prompts into various artistic expressions. Although LLMs can very effectively blend and mimic these styles, they remain mere tools – as suggested by the metaphor of a stochastic parrot; the true creative force remains the human artist. Currently, these models are experimental, and their artistic outputs, while impressive, are still viewed as pastiches rather than genuine art. Nonetheless, we can expect advances that may soon enable artists to use LLMs to create genuine artworks.  This study explores the potential of contemporary large language models (LLMs) to achieve Gilles Deleuze’s goal of integrating art into daily life. Deleuze’s philosophy, with its focus on creative repetition, finds a parallel in LLMs, which replicate and innovate artistic styles by transforming text prompts into various artistic expressions. Although LLMs can very effectively blend and mimic these styles, they remain mere tools – as suggested by the metaphor of a stochastic parrot; the true creative force remains the human artist. Currently, these models are experimental, and their artistic outputs, while impressive, are still viewed as pastiches rather than genuine art. Nonetheless, we can expect advances that may soon enable artists to use LLMs to create genuine artworks

Building Bridges: The Importance of Bringing Together the Empirical Sciences & the Humanities

In the 21st century, where digital advancements change how we perceive art and aesthetics, there is a need to examine how empirical sciences and the humanities can collaboratively explore these complexities. This paper highlights the reciprocal relationship between these fields, arguing that a fusion of empirical methods and philosophical inquiry can lead to a more comprehensive understanding of aesthetics in the digital age. Empirical sciences bring robust tools for quantifying human experiences, yet they often reduce complex phenomena to measurable parts, potentially missing nuances captured by the humanities. Conversely, the humanities provide deep conceptual insights, but these can benefit from empirical grounding to enhance their applicability and relevance. This interdisciplinary approach is illustrated through the study of digital aesthetics, particularly focusing on the challenges of understanding art and aesthetics across varied human perceptions. Additionally, this paper explores the evolving concept of authorship in the digital age, complicated by AI-generated art and digital mediums. By bridging the strengths of both disciplines, the authors advocate for a more nuanced and evidence-based understanding of these contemporary issues, emphasizing the importance of collaboration in navigating the digital landscape\u27s complexities.In the 21st century, where digital advancements change how we perceive art and aesthetics, there is a need to examine how empirical sciences and the humanities can collaboratively explore these complexities. This paper highlights the reciprocal relationship between these fields, arguing that a fusion of empirical methods and philosophical inquiry can lead to a more comprehensive understanding of aesthetics in the digital age. Empirical sciences bring robust tools for quantifying human experiences, yet they often reduce complex phenomena to measurable parts, potentially missing nuances captured by the humanities. Conversely, the humanities provide deep conceptual insights, but these can benefit from empirical grounding to enhance their applicability and relevance. This interdisciplinary approach is illustrated through the study of digital aesthetics, particularly focusing on the challenges of understanding art and aesthetics across varied human perceptions. Additionally, this paper explores the evolving concept of authorship in the digital age, complicated by AI-generated art and digital mediums. By bridging the strengths of both disciplines, the authors advocate for a more nuanced and evidence-based understanding of these contemporary issues, emphasizing the importance of collaboration in navigating the digital landscape\u27s complexities

The Silent Animals. Loving and Staging Animals in Jean Baudrillard’s Thought

In this paper, George P. Pefanis discusses the presence of animals on stage from the perspective of French philosopher Jean Baudrillard. Baudrillard examines animality in relation to reason and the division between humans and non-humans. He presents four broad categories based on their relationship to humans. This article analyses the Baudrillardian concept of ‘somatisation’, which includes both the corporeality and physical vulnerability of animals, as well as certain psychic traits. The article explores the sentimentality projected onto animals and the implied superiority of humans in such sentimentality. Additionally, it enquires how the principles of ‘love for animals’ can be integrated into a performance featuring animals on stage from an ethical and ontological perspective. To support this discussion, the paper examines two examples of performances: ‘Embracing Animal’ by American artist Kathy High and ‘The Other’ by American artist Rachel Rosenthal.In this paper, George P. Pefanis discusses the presence of animals on stage from the perspective of French philosopher Jean Baudrillard. Baudrillard examines animality in relation to reason and the division between humans and non-humans. He presents four broad categories based on their relationship to humans. This article analyses the Baudrillardian concept of ‘somatisation’, which includes both the corporeality and physical vulnerability of animals, as well as certain psychic traits. The article explores the sentimentality projected onto animals and the implied superiority of humans in such sentimentality. Additionally, it enquires how the principles of ‘love for animals’ can be integrated into a performance featuring animals on stage from an ethical and ontological perspective. To support this discussion, the paper examines two examples of performances: ‘Embracing Animal’ by American artist Kathy High and ‘The Other’ by American artist Rachel Rosenthal

Editoriale: abitudine e letteratura

Starting from antiquity, the concept of habit has traversed the entire history of Western philosophy and has represented one of the great themes of modern and contemporary literature. The reflection on habit has raised questions concerning the relationship between body and mind, the problem of time and the (re)construction of identity, the conscious and the unconscious, and the role of memory. This dossier addresses these questions from an aesthetic perspective, at the crossroads between the history of philosophy and the history of literature.Starting from antiquity, the concept of habit has traversed the entire history of Western philosophy and has represented one of the great themes of modern and contemporary literature. The reflection on habit has raised questions concerning the relationship between body and mind, the problem of time and the (re)construction of identity, the conscious and the unconscious, and the role of memory. This dossier addresses these questions from an aesthetic perspective, at the crossroads between the history of philosophy and the history of literature

Paesaggi dell’interstizio. Per un Illuminismo post-coloniale

The landscape of tomorrow can be imagined today starting from events currently emerging from what Michel Foucault called “the interstice”. According to him, the interstice is the gray area that lies between the fundamental choices and exclusion’s strategies that every culture accomplishes to affirm its identity. Some of these interstices have been brought to light precisely in the context of landscape theories, notably by Gilles Clément. Others, however, are now emerging in political fields where landscape is not the object of a theory, but a reference for struggle and contestation. Thus, starting from a visit to the 2024 Venice Art Biennale, this essay outlines the intertwining between some interstitial movements of today - post-colonial studies, migrations, queer identities - and their impact on a possible landscape to come: not identitarian but fluid, inclusive and open towards a new idea of cosmopolitism.The landscape of tomorrow can be imagined today starting from events currently emerging from what Michel Foucault called “the interstice”. According to him, the interstice is the gray area that lies between the fundamental choices and exclusion’s strategies that every culture accomplishes to affirm its identity. Some of these interstices have been brought to light precisely in the context of landscape theories, notably by Gilles Clément. Others, however, are now emerging in political fields where landscape is not the object of a theory, but a reference for struggle and contestation. Thus, starting from a visit to the 2024 Venice Art Biennale, this essay outlines the intertwining between some interstitial movements of today - post-colonial studies, migrations, queer identities - and their impact on a possible landscape to come: not identitarian but fluid, inclusive and open towards a new idea of cosmopolitism

Eds.) Micaela Latini, Elena Tavani, Connected Images: New Paradigms for Aesthetic Experience Paradigmi, Rivista di Critica Filosofica, XLI, 3/2023.

Performativity, connection, aggregate, conflict, Stimmung and artificial intelligence are among the topics chosen by the authors of the monographic issue of scientific journal Paradigmi, Rivista di Critica Filosofica dedicated to Connected images: New Paradigms for Aesthetic Experience, edited by Micaela Latini and Elena Tavani. Numerous contemporary and transdisciplinary forms of interpretation represent aesthetic experience in this Issue. It approaches the art world with Nature and the images naturally created by animals and natural environments (Tavani), the body in motion and its intentionality represented by images (Alloa, Benjamin), the body and time in tattoo images (Vercellone), the biological world and molecular discoveries (Bredekamp), furniture objects and the image of aesthetic experience they suggest (Goehr), political and social conflicts and what they represent (Latini), and pictures of music (Pangrazi). The last essays follow this mainly focused on the digital context, artificial intelligence and the technological impact on the art world and of chiasmus in images (Diodato), political rhetoric (Fimiani), surreal image interventions in the world of artificial intelligence (Somaini) and identity and the constitution of algorithms (Eugeni).Performativity, connection, aggregate, conflict, Stimmung and artificial intelligence are among the topics chosen by the authors of the monographic issue of scientific journal Paradigmi, Rivista di Critica Filosofica dedicated to Connected images: New Paradigms for Aesthetic Experience, edited by Micaela Latini and Elena Tavani. Numerous contemporary and transdisciplinary forms of interpretation represent aesthetic experience in this Issue. It approaches the art world with Nature and the images naturally created by animals and natural environments (Tavani), the body in motion and its intentionality represented by images (Alloa, Benjamin), the body and time in tattoo images (Vercellone), the biological world and molecular discoveries (Bredekamp), furniture objects and the image of aesthetic experience they suggest (Goehr), political and social conflicts and what they represent (Latini), and pictures of music (Pangrazi). The last essays follow this mainly focused on the digital context, artificial intelligence and the technological impact on the art world and of chiasmus in images (Diodato), political rhetoric (Fimiani), surreal image interventions in the world of artificial intelligence (Somaini) and identity and the constitution of algorithms (Eugeni)

Metafora e memoria in Proust

Proust gave metaphor both stylistic and theoretical centrality. In his view, metaphor is not a mere substitute for literal expression but performs a cognitive function, bringing to light relations and aspects of reality that would otherwise remain unexplored. The article intends to show that the reminiscences of involuntary memory also possess a metaphorical structure. Just as a pars destruens and a pars construens coexist in metaphor, in authentic reminiscence the deconstruction of a linear and abstract temporality is the indispensable premise of reconfiguring the past that makes its meaning flash forth in unprecedented possibilities.Like metaphor, involuntary memory must enact categorical transgression. It must suspend previous categories and classifications to bring out the rich web of relationships that permeates every fragment of our existence. Finally, just as metaphor redescribes reality under the banner of metamorphosis, so involuntary memory transforms the usual relationships between past and present. The artwork born from the epiphanies of involuntary memory will adopt an expressive practice capable of interweaving reality and imagination, perception and memory, objectivity, and subjectivity.Proust gave metaphor both stylistic and theoretical centrality. In his view, metaphor is not a mere substitute for literal expression but performs a cognitive function, bringing to light relations and aspects of reality that would otherwise remain unexplored. The article intends to show that the reminiscences of involuntary memory also possess a metaphorical structure. Just as a pars destruens and a pars construens coexist in metaphor, in authentic reminiscence the deconstruction of a linear and abstract temporality is the indispensable premise of reconfiguring the past that makes its meaning flash forth in unprecedented possibilities.Like metaphor, involuntary memory must enact categorical transgression. It must suspend previous categories and classifications to bring out the rich web of relationships that permeates every fragment of our existence. Finally, just as metaphor redescribes reality under the banner of metamorphosis, so involuntary memory transforms the usual relationships between past and present. The artwork born from the epiphanies of involuntary memory will adopt an expressive practice capable of interweaving reality and imagination, perception and memory, objectivity, and subjectivity

Memoria dislocata. Svetlana Boym, Marija Stepanova e la poetica nella Russia post-sovietica

Post-Soviet literature and theoretical reflection constitute an elective place for the elaboration of memory; the reflection of Svetlana Boym (starting exemplary from her work on Nabokov) and the poetic work of Marija Stepanova between poetry, prose and essays are the subject of these notes, which pay particular attention to the dislocation of memory as a reactivation of history in the double emergency of condition specific to the post-memory generation and the erasure of history by the Putin regime.Post-Soviet literature and theoretical reflection constitute an elective place for the elaboration of memory; the reflection of Svetlana Boym (starting exemplary from her work on Nabokov) and the poetic work of Marija Stepanova between poetry, prose and essays are the subject of these notes, which pay particular attention to the dislocation of memory as a reactivation of history in the double emergency of condition specific to the post-memory generation and the erasure of history by the Putin regime

Landscape in Technological Image The Complex Aesthetics Perspective

In the Anthropocene, what contribution to landscape design and creation can the technological image, whose action, or agency, is global in scope?Beyond being a functional backdrop for human action and an object of images provided by devices designed for control in virtual mappings and telematic geolocations, can the landscape also be the subject of technological images that are able to promote a new paradigm of reciprocity between man and cosmos? In an attempt to answer such questions, this contribution is aimed at reconsidering in epistemological terms certain notions of the aesthetics of the technological image and, in particular, of the audiovisual image: immersivity, synesthesia and Stimmung.In the perspective of the development of a complex aesthetics, it is hypothesized that the aesthetic experience of the artistic audiovisual image of the landscape can potentially promote a sensitive knowledge of the environment, capable of contributing to the development of an ecological sensitivity.In the Anthropocene, what contribution to landscape design and creation can the technological image, whose action, or agency, is global in scope?Beyond being a functional backdrop for human action and an object of images provided by devices designed for control in virtual mappings and telematic geolocations, can the landscape also be the subject of technological images that are able to promote a new paradigm of reciprocity between man and cosmos? In an attempt to answer such questions, this contribution is aimed at reconsidering in epistemological terms certain notions of the aesthetics of the technological image and, in particular, of the audiovisual image: immersivity, synesthesia and Stimmung.In the perspective of the development of a complex aesthetics, it is hypothesized that the aesthetic experience of the artistic audiovisual image of the landscape can potentially promote a sensitive knowledge of the environment, capable of contributing to the development of an ecological sensitivity