Studi di estetica <div style="text-align: left;"> <p class="elementToProof">“Studi di estetica / <em>aesthetic studies</em>” was founded in 1973 by Luciano Anceschi. Since 2014 it has also become an open access online journal that aims to be a forum of discussion, addressing both traditional topics and more recent perspectives on aesthetic issues. It is a peer reviewed international journal, committed to upholding the highest standards of publication and supporting the most rigorous scientific method.<br>“Studi di estetica / <em>aesthetic studies</em>”&nbsp;is a Class A-Anvur Journal, also indexed in DOAJ, Scopus, ERIH PLUS, Google Scholar, PhilPapers, Catalogo italiano dei periodici. It is ranked in quartile Q2 by SCImago Journal Rank.</p> </div> Mimesis Edizioni en-US Studi di estetica 0585-4733 Epistemology of digital ekphrasis <p>The paper relies on the idea that the context of the digital art world is the main place to observe the formation of a new ekphrasis and, at the same time, of new media. Hence it means digital ekphrasis as a productive tension, capable of generating communication through a medium-medium relationship.</p> Micaela Latini Luca Viglialoro Copyright (c) 2024-07-01 2024-07-01 28 The supplement of the digital <div class="page" title="Page 1"> <div class="section"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>‘Communication’ is the basic concept of an aesthetic media theory and, under the title ‘communication aesthetics’, is particularly suitable for defining a capacity of that phenomenon that also describes a holistic experience of so-called digitality in a new way. In the passage through this concept of communication, ‘communication aesthetics’ is therefore also the basic term for studies of digital media cultures and is used here as an example to determine the relevant phenomena of mediality, materiality and the contemporary technological body practices associated with them. ‘Aesthetics of communication’ is then also the title word for the sought-after answer to the question of whether the speech of transfer between different arts as ekphrastic representation acquires a significance of its own that cannot be decomposed by unconditionally necessary and, as a rule, even more important reflection on its effects. The essay examines how both sides of the term – the ‘aesthetic’ and the ‘communicative’ – can be discussed in order to reflect on their connection, especially against the background of the implications of the digital per se. In the first part, the contrasts that determine this conceptual construction are analyzed using an example of media culture in order to read them as the basic definitions of a dialectical concept of the ‘communicative-aesthetic’. Against this background, the second part of the essay deals with the related ‘communication-aesthetic’ practices that could be used as the ingredients and objects of a genuine interdisciplinary media theory.</p> </div> </div> </div> </div> </div> Oliver Ruf Copyright (c) 2024-07-01 2024-07-01 28 From descriptive storytelling to digital image generation with AI <p>After briefly discussing ekphrasis’s historical significance and function in the arts and its continued relevance as an effective artistic practice, this essay explores the concept of digital ekphrasis in the age of artificial intelligence and digital image generation. The discussion focuses on popular AI models readily available online, such as Midjourney, Dall-e, Stable Diffusion, and Firefly. By examining prominent examples of AI art or so-called popular “prompt art” – including Refik Anadol’s award-winning and mesmerizing AI project “Unsupervised” (MoMA, New York, 2023) and the viral Midjourney prompt “The Pope wearing a Balencia-ga puffer jacket” (Spring 2023) – the author questions whether we can also speak of a computational ekphrasis in the age of artificial intelligence and AI models as our new co-creative collaborators. Therefore, the essay considers a praxeology of digital ekphrasis, exploring how efficient text instructions for AI models are now used to create compelling images in a new digital aesthetic that affects their global audience.</p> Pamela C. Scorzin Copyright (c) 2024-07-01 2024-07-01 28 La realtà virtuale come spazio di un’ekphrasis digitale <p>The essay aims to examine the concept of digital ekphrasis in virtual reality environments. The emergence of immersive narrative worlds, both in videogames and artistic expression, requires a reflection on the relationships between traditional narrative forms (literature and painting, as well as photography and cinema) and the possibilities that technological development brings to the evolution of artistic and expressive languages. Starting from the analysis of Alejandro González Iñárritu’s virtual reality installation "Carne y Arena", the essay questions the continuity/discontinuity relationship with the semiotic and aesthetic universes conventionally summoned by ekphrasis. The transformation of the medium, which places the viewer immediately within the work, abolishes not only the distance between the involved expressive media, integrating them intermedially, but also the distance between work and spectator, according to a paradigm of aesthetic experience minority within aesthetics, attributable to a theoretical line that combines Merleau-Ponty and Deleuze. The resonance between forms of expressiveness significantly radicalizes the scope of ekphrasis, as visual discourse is no longer transposed to a discursive level, as traditionally occurred, but into other forms of the visual and the sensible that continually set the semiosis of the work in motion.</p> Damiano Cantone Copyright (c) 2024-07-01 2024-07-01 28 Ekphrasis and prompt engineering <p>In this work I try to show that there is a common thread between ekphrasis and prompt engineering, in spite of the temporal distance of almost thirty centuries between their respective earliest known instances, and despite the blatant disparity in technological tools supporting them. An investigation of the characteristics of such thread can shed light on a number of aspects of our experience of textual and visual works, including the role of our imagination, that of our emotions, and what happens when human agency within these imaginative and emotive processes is substituted by the artificial agency of an AI system.</p> Mario Verdicchio Copyright (c) 2024-07-01 2024-07-01 28 Navigating the aesthetic network <p>In the contemporary media landscape determined by the pervasive and ubiquitous use of computational media, the figure of ekphrasis is experiencing a moment of renewed interest, which contributes to broadening its field of action traditionally limited to literature. Following this line of interpretation, this article aims to show how precisely the concept of ekphrasis, understood in its processual and performative dimension, can be fruitfully engaged in an analysis of the aesthetic and visual experience that characterises the daily use of our digital devices.<br>By examining Juran Landt's drawing "I just want fruits on a plate", this article explores the tension between text and image in digitally inspired aesthetics. It analyses the disorienting yet productive experiences induced by Landt's artwork, which are reminiscent of our daily encounters with digital media. Finally, this article proposes that the ekphrastic process may represent a moment of unexpected rupture in the otherwise smooth and hypnotic consumption of the digital media.</p> Benedetta Milani Copyright (c) 2024-07-01 2024-07-01 28 (Re-)präsentieren von (Re-)präsentationen? <p>This paper aims to reevaluate the use of the concept of representation as it is used to define the concept of ekphrasis, while taking into account recent developments of digital (visual) culture. It offers an account on the different ways representation can be understood as part of those definitions and how they prove successful – or fail to do so – in digital environments, mainly by resorting to the philosophical method of conceptual analysis.</p> Alexander Averhage Copyright (c) 2024-07-01 2024-07-01 28 Un’ekphrasis ironica? <p>The article explores the concept of ironic ekphrasis in the works of Carl Schmitt, a prominent jurist in the Third Reich and a significant figure in contemporary philosophy. The analysis focuses on Schattenrisse (1913), a collection of satirical portraits, and examines the relationship between politics and aesthetics, particularly the interplay of word and image in Schmitt's literary descriptions. The paper argues that Schmitt’s use of ekphrasis serves as a diagnostic tool, offering a satirical critique of his historical era. However, ekphrasis can also involve a constructive effort: in the realm of “virtualization”, ekphrasis transforms into a creative process. This analysis highlights Schmitt’s ambiguous relationship with German Romanticism, suggesting that elements of ekphrasis and irony become integral to his aesthetic jurisprudence. The article concludes by considering the relevance and implications of Schmitt’s approach to ekphrasis in the contemporary context.</p> Francesca Monateri Copyright (c) 2024-07-01 2024-07-01 28 The strangeness of aesthetic experience <p>The sympathetic and negative emotions triggered in and by aesthetic experiences are among the enduring explanatory needs of reception aesthetics. Kant may have found a plausible formula for the intellectual pleasure of artworks in the free play of the powers of imagination. But it might be too intellectualistic to explain the aesthetic experience of music or immersive films. In English-language aesthetics, it has been discussed for decades as the paradox of fiction, why we are scared, for instance, in horror movies at all, even though we know that there is no real danger. The lecture seeks answers to these questions in the intentionality of the mind and the imagination.</p> Eva Schürmann Copyright (c) 2024-07-01 2024-07-01 28 Collections as abstract artifacts <p>Collecting is one of the most widespread cultural practices in the world; which, similar to art – already the subject of a long tradition of philosophical studies – has given rise to the most various creations over the centuries. This refers not only to the countless types of objects that have been the focus of collections but, above all, to the object that constitutes their most defining production: the collection itself, collectively understood as an unparalleled artifact. But from a metaphysical point of view, what is a collection? Starting from the peculiar relationship between a collection and the objects that compose it, in this article we will investigate the essence that distinguishes a collection from any other type of set or gathering of objects. The answer to the question “what is a collection?” will thus culminate in the outline of a specific theory, the abstract artifactualism of collections.</p> Alessandro Bruzzone Copyright (c) 2024-07-01 2024-07-01 28 Shusterman’s somaesthetics as meta-aesthetics <p>In this article I will explore three contributions that Shusterman’s somaesthetics can make to meta-aesthetics: Shusterman’s interpretation of the analytic-continental aesthetic debate; the redefinition of the aesthetic through the notion of experience, resulting in the aesthetics of popular art and somaesthetics, and finally, the opening of aesthetics to extra-philosophical practices, such as body exercises and performances.</p> Nicola Ramazzotto Copyright (c) 2024-07-01 2024-07-01 28 Daniel O’Shiel, The phenomenology of virtual technology. Perception and imagination in a digital age Dublin, Bloomsbury Academic, 2022, pp. 252 <p>&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Fabrizia Bandi Copyright (c) 2024-07-01 2024-07-01 28 Susan M. Shell, The politics of beauty. A study of Kant’s critique of taste Cambridge, Cambridge University Press, 2022, pp. 84 <p>&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Giulia Milli Copyright (c) 2024-07-01 2024-07-01 28 Peter Cheyne (ed.), Imperfectionist aesthetics in art and everyday life New York, Routledge, 2023, pp. 396 <p>&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Giulia Zerbinati Copyright (c) 2024-07-01 2024-07-01 28 Practice to re-learn, re-learn to reinvent. Exercise in art as development of artistic attitude <p>&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Serena Massimo Copyright (c) 2024-07-01 2024-07-01 28 On Jacques Rancière, The time of the landscape. On the origins of the aesthetic revolution <p>&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Jacques Rancière Oliver Davis Ilaria Bussoni Bernard Aspe Copyright (c) 2024-07-01 2024-07-01 28