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A Minor Subject: Habit and Subjectivity in Modernist Literature and Philosophy
Full text linkIn this essay, I intend to investigate some of the aspects of the resurgence of habit at the dawn of the twentieth century by touching upon a series of paradigmatic texts of the modernist canon and by investigating their debts to and consonances with the contemporary philosophies of habit. My thesis is that during those decades – seen as a mere chapter in the longer history of modernity – the philosophical and literary theme of habit served not only as a way to understand and represent the ordinary dimension of life, but also as a means to develop an idea of human subjectivity that could mediate between the centrifugal and the centripetal tendencies that permeated the competing ideologies of the time. The crisis of subjectivity that characterized modernism and which has often been simplistically represented as a disintegration of the subject into irredeemably broken fragments, should rather be seen as the development of a dialectical idea of a “minor subject”, that is, an open, dynamic, multilayered subjectivity still endowed by a certain malleable consistency. Both modernist literature and its philosophical counterparts found in the “minor subject” (here in the sense of “subject matter”) of habit, the opportunity to investigate and represent the porosity between activity and passivity, volition and determinism, individual identity and social structures, that characterize this idea of subjectivity.
I focus on three different representative – though not exhaustive – facets of the issue. In the first section, relying on Virginia Woolf\u27s work, I highlight how some of the narrative techniques developed by Modernist writers can be seen as an attempt to give a plastic representation to the blurred boundaries of subjectivity as captured in the everyday existence of their characters. I then connect these innovations to the theory of habit of Samuel Butler, whom Woolf identified as one of the harbingers of modernity. In the second section I focus on Marcel Proust to discuss how modernist writers proved to be able to combine two opposed views of habit: on the one hand, the view of habit as purely mechanical and leading to inauthentic life; on the other, the idea of habit as essential to the human being\u27s potential for self-perfecting and creativity. The third section is dedicated to addiction, seen as a form of habit in which the subject is radically torn between opposite forces. Following insights from Sigmund Freud\u27s Beyond the Pleasure Principle, I interpret Italo Svevo\u27s Zeno\u27s Conscience as a meditation on how such a torn subjectivity manifests the essential incompleteness of the human subject and life\u27s insuppressible nostalgia for the inorganic.
Virginia Woolf’s blurred boundaries, Marcel Proust’s ambiguous authenticity, and Italo Svevo’s split selfhood are three interconnected facets of the modernists’ interest in the “minor subject” of habit. Investigating the interaction between the philosophical and the literary discourses on habit at the dawn of the twentieth century can contribute to a more nuanced reconstruction of a pivotal moment in the history of thought but also to the contemporary philosophical debate. Almost exactly one century later, the renewed interest in the theme of habit mirrors a situation in part similar to what characterized the ideological landscape of the time, as now too it is concerned with the attempt to reimagine a “minor subject” that mediates between the postmodern pulverization of identity and the temptation of reaffirming anachronistic forms of strong subjectivities.In this essay, I intend to investigate some of the aspects of the resurgence of habit at the dawn of the twentieth century by touching upon a series of paradigmatic texts of the modernist canon and by investigating their debts to and consonances with the contemporary philosophies of habit. My thesis is that during those decades – seen as a mere chapter in the longer history of modernity – the philosophical and literary theme of habit served not only as a way to understand and represent the ordinary dimension of life, but also as a means to develop an idea of human subjectivity that could mediate between the centrifugal and the centripetal tendencies that permeated the competing ideologies of the time. The crisis of subjectivity that characterized modernism and which has often been simplistically represented as a disintegration of the subject into irredeemably broken fragments, should rather be seen as the development of a dialectical idea of a “minor subject”, that is, an open, dynamic, multilayered subjectivity still endowed by a certain malleable consistency. Both modernist literature and its philosophical counterparts found in the “minor subject” (here in the sense of “subject matter”) of habit, the opportunity to investigate and represent the porosity between activity and passivity, volition and determinism, individual identity and social structures, that characterize this idea of subjectivity.
I focus on three different representative – though not exhaustive – facets of the issue. In the first section, relying on Virginia Woolf\u27s work, I highlight how some of the narrative techniques developed by Modernist writers can be seen as an attempt to give a plastic representation to the blurred boundaries of subjectivity as captured in the everyday existence of their characters. I then connect these innovations to the theory of habit of Samuel Butler, whom Woolf identified as one of the harbingers of modernity. In the second section I focus on Marcel Proust to discuss how modernist writers proved to be able to combine two opposed views of habit: on the one hand, the view of habit as purely mechanical and leading to inauthentic life; on the other, the idea of habit as essential to the human being\u27s potential for self-perfecting and creativity. The third section is dedicated to addiction, seen as a form of habit in which the subject is radically torn between opposite forces. Following insights from Sigmund Freud\u27s Beyond the Pleasure Principle, I interpret Italo Svevo\u27s Zeno\u27s Conscience as a meditation on how such a torn subjectivity manifests the essential incompleteness of the human subject and life\u27s insuppressible nostalgia for the inorganic.
Virginia Woolf’s blurred boundaries, Marcel Proust’s ambiguous authenticity, and Italo Svevo’s split selfhood are three interconnected facets of the modernists’ interest in the “minor subject” of habit. Investigating the interaction between the philosophical and the literary discourses on habit at the dawn of the twentieth century can contribute to a more nuanced reconstruction of a pivotal moment in the history of thought but also to the contemporary philosophical debate. Almost exactly one century later, the renewed interest in the theme of habit mirrors a situation in part similar to what characterized the ideological landscape of the time, as now too it is concerned with the attempt to reimagine a “minor subject” that mediates between the postmodern pulverization of identity and the temptation of reaffirming anachronistic forms of strong subjectivities
Distrarsi: abitudine storico-naturale?
Full text linkThis article delves into the phenomenon of distraction as a cluster of habits that underlies the nervous lives of literary modernity and holds a potentially counter-canonical conceptual significance by haunting daily and scientific practices like reading. On one hand, these habits of distraction could be considered as a part, perhaps even the common denominator of those highly routinized activities that may constitute the natural history of the human forms of life. On the other hand, they may serve as a lever to rethink the natural-historical conceptual tradition itself. Starting with an analysis of the thematic and methodological literary relevance of this phenomenological area in Moravia’s major existentialist novels, this article will further explore its philosophical and anthropological importance by contrasting De Martino’s interpretation of Moravia and Benjamin’s idle materialism with Gehlen’s concept of “second nature” as based on James’s psychology and Heidegger’s stigmatization of
everyday life as inauthentic.This article delves into the phenomenon of distraction as a cluster of habits that underlies the nervous lives of literary modernity and holds a potentially counter-canonical conceptual significance by haunting daily and scientific practices like reading. On one hand, these habits of distraction could be considered as a part, perhaps even the common denominator of those highly routinized activities that may constitute the natural history of the human forms of life. On the other hand, they may serve as a lever to rethink the natural-historical conceptual tradition itself. Starting with an analysis of the thematic and methodological literary relevance of this phenomenological area in Moravia’s major existentialist novels, this article will further explore its philosophical and anthropological importance by contrasting De Martino’s interpretation of Moravia and Benjamin’s idle materialism with Gehlen’s concept of “second nature” as based on James’s psychology and Heidegger’s stigmatization of
everyday life as inauthentic
Building Bridges: The Importance of Bringing Together the Empirical Sciences & the Humanities
Full text linkIn 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 Act of Seeing with One’s Own Eyes, o sull’iconismo del disgusto: Per una prospettiva sulle sperimentazioni cinematografiche nel ricorso al disgusto
Full text linkWidely dealt with in its use in the horror film genre that best suits it, disgust has not found yet a theoretical framework as an aesthetic instrument in the sphere of more experimental cinema, which nonetheless boasts an intrinsic propensity for formal research which is useful to qualify an aesthetic category. Taken here as a case study in order to demonstrate the expressive potential overshadowed by the mainstream scene, Stan Brakhage’s The Act of Seeing with One’s Own Eyes stands out for the original aesthetic function assigned to disgust: to impose iconism as a semiotic regime of the film. This paper would like to articulate the theoretical path from disgust to iconism, as well as the theoretical-aesthetic effects resulting from it. In the first instance, the contrasting positions on the sublime of Kant and Burke are considered. Having admitted with the latter the materialist monism and the illusory character of the sensible, one can arrive at the sign regime sought by Brakhage by placing a third condition alongside the others two: Bataillean dépense. Hav- ing defined the causes, the paper moves on to describe the effects. The iconism of disgust is capable of transforming ontologically the status of Brakhage’s realization from work to operation. It is from such iconism that follows the inherent capacity of disgust to pierce the gaze: preventing it from signifying the image and forcing it before that from which it seeks shelter. The detachment – that is the poetic and maieutic center of the operation – imposed by disgust on its own subject, becomes fruitfully ambiguous: semantically re- versed, there is no longer detachment from the disgusting object, but rather from the stri- ated eye of epistemological prejudice. Through disgust, the distance between the specta- tor and the image is thus cancelled, placing it instead between the spectator and the gaze. Thus exorcised, Brakhage’s film can only be watched with those own eyes indicated by the title.Widely dealt with in its use in the horror film genre that best suits it, disgust has not found yet a theoretical framework as an aesthetic instrument in the sphere of more experimental cinema, which nonetheless boasts an intrinsic propensity for formal research which is useful to qualify an aesthetic category. Taken here as a case study in order to demonstrate the expressive potential overshadowed by the mainstream scene, Stan Brakhage’s The Act of Seeing with One’s Own Eyes stands out for the original aesthetic function assigned to disgust: to impose iconism as a semiotic regime of the film. This paper would like to articulate the theoretical path from disgust to iconism, as well as the theoretical-aesthetic effects resulting from it. In the first instance, the contrasting positions on the sublime of Kant and Burke are considered. Having admitted with the latter the materialist monism and the illusory character of the sensible, one can arrive at the sign regime sought by Brakhage by placing a third condition alongside the others two: Bataillean dépense. Hav- ing defined the causes, the paper moves on to describe the effects. The iconism of disgust is capable of transforming ontologically the status of Brakhage’s realization from work to operation. It is from such iconism that follows the inherent capacity of disgust to pierce the gaze: preventing it from signifying the image and forcing it before that from which it seeks shelter. The detachment – that is the poetic and maieutic center of the operation – imposed by disgust on its own subject, becomes fruitfully ambiguous: semantically re- versed, there is no longer detachment from the disgusting object, but rather from the stri- ated eye of epistemological prejudice. Through disgust, the distance between the specta- tor and the image is thus cancelled, placing it instead between the spectator and the gaze. Thus exorcised, Brakhage’s film can only be watched with those own eyes indicated by the title
In Amateur Death. A Reflection on Snuff Movies
Full text linkThe study of amateur cinema gives rise to ethical and aesthetic dilemmas that are well- known to anyone who has engaged in such research (see, for example, Caneppele 2022). However, there has been little attention paid to a particular and extreme type of film that, while sharing stylistic features and production methods with amateur cinema, differs significantly in content: snuff movies. The term snuff movie is used to describe films or videos that depict scenes of real violence, including torture, murder, and rape. Although the revulsion provoked by such imagery confines this genre to a limited audience, it is evident that interrogating the manifestations of violence when captured on film (even if done in an amateurish manner) can rekindle dormant discussions on the essence of the medium. Even if unconsciously, Pasolini begins his examination of the sequence plan from a snuff movie, the most famous of which is the Kennedy assassination filmed by Zapruder (Pasolini 1967). Furthermore, ethical concerns pertaining to death and cinema are extensively discussed by Bazin (Bazin 1951). More recently, Nancy has addressed the issue of violence in and of images (Nancy 2002). The three cases presented here illustrate the dilemmas underlying reflections on cinema, which have been accelerated by the exponential expansion of digital amateur cinema. With the spread of smartphones, any murder or suicide has the potential to become a snuff movie, as evidenced by the growth of dedicated telegram channels, which have replaced the older “shock sites” and the circulation of images in the obscure world of the deep web. These images are often leaked from judicial investigations. It is evident that these images are not intended for public viewing. Nevertheless, they exist, they spread, and they intrigue. This contribution is not intended as a definitive theorization of the snuff film, but rather as a starting point, a proposal that – starting from a review of some distinctive formal and productive features common to all the artefacts more or less correctly identified as snuff films – may initiate a reflection that contextualizes these products within the studies of amateur cinema, trying to trace the reasons why these stylistic peculiarities may correspond to a greater degree of realism in the perception of the “spectator”.The study of amateur cinema gives rise to ethical and aesthetic dilemmas that are well- known to anyone who has engaged in such research (see, for example, Caneppele 2022). However, there has been little attention paid to a particular and extreme type of film that, while sharing stylistic features and production methods with amateur cinema, differs significantly in content: snuff movies. The term snuff movie is used to describe films or videos that depict scenes of real violence, including torture, murder, and rape. Although the revulsion provoked by such imagery confines this genre to a limited audience, it is evident that interrogating the manifestations of violence when captured on film (even if done in an amateurish manner) can rekindle dormant discussions on the essence of the medium. Even if unconsciously, Pasolini begins his examination of the sequence plan from a snuff movie, the most famous of which is the Kennedy assassination filmed by Zapruder (Pasolini 1967). Furthermore, ethical concerns pertaining to death and cinema are extensively discussed by Bazin (Bazin 1951). More recently, Nancy has addressed the issue of violence in and of images (Nancy 2002). The three cases presented here illustrate the dilemmas underlying reflections on cinema, which have been accelerated by the exponential expansion of digital amateur cinema. With the spread of smartphones, any murder or suicide has the potential to become a snuff movie, as evidenced by the growth of dedicated telegram channels, which have replaced the older “shock sites” and the circulation of images in the obscure world of the deep web. These images are often leaked from judicial investigations. It is evident that these images are not intended for public viewing. Nevertheless, they exist, they spread, and they intrigue. This contribution is not intended as a definitive theorization of the snuff film, but rather as a starting point, a proposal that – starting from a review of some distinctive formal and productive features common to all the artefacts more or less correctly identified as snuff films – may initiate a reflection that contextualizes these products within the studies of amateur cinema, trying to trace the reasons why these stylistic peculiarities may correspond to a greater degree of realism in the perception of the “spectator”
The Sublime in the Miserable and Disgusting Remains of a Dead Body: The Paradoxical “Beauty” of the Relic and its Textile Wrapping in Medieval Times
Full text linkIn medieval literature the physical remains of martyrs and saints are described as shining gems, or fragrant flowers in the name of a spiritualiter apprehension for which the brute and disgusting matter of bones or mummified flesh is elevated to the highest good and highest beauty, that is, to the status of “relic”. The faithful-spectator therefore experiences a conversion of vision to which the reliquary contributes with its sensual guise and its dialectic of hiding/showing.
Even the precious textiles that wrap the relics play an active role in this ethical-aesthetic mediation, being capable of triggering symbolic associations gravitating around the Christian theology of clothing. The starting point is the parallelism established by Thiofrid of Echternach († 1110) between the reliquary and the appearances of the Eucharistic bread and wine defined as velamen placed to cover the substance of the body and blood of the crucified Christ which, if shown, would have disgusted the faithful.
A quick foray into contemporary art will demonstrate the persistent vitality of the notion of relic and the mechanism of veiling/dressing that belongs to the reliquary, to this powerful device for presenting the unpresentable.In medieval literature the physical remains of martyrs and saints are described as shining gems, or fragrant flowers in the name of a spiritualiter apprehension for which the brute and disgusting matter of bones or mummified flesh is elevated to the highest good and highest beauty, that is, to the status of “relic”. The faithful-spectator therefore experiences a conversion of vision to which the reliquary contributes with its sensual guise and its dialectic of hiding/showing.
Even the precious textiles that wrap the relics play an active role in this ethical-aesthetic mediation, being capable of triggering symbolic associations gravitating around the Christian theology of clothing. The starting point is the parallelism established by Thiofrid of Echternach († 1110) between the reliquary and the appearances of the Eucharistic bread and wine defined as velamen placed to cover the substance of the body and blood of the crucified Christ which, if shown, would have disgusted the faithful.
A quick foray into contemporary art will demonstrate the persistent vitality of the notion of relic and the mechanism of veiling/dressing that belongs to the reliquary, to this powerful device for presenting the unpresentable
L’eccesso corporeo in Pinocchio tra disordine, comico e cultura popolare
Full text linkThis paper examines some essential dichotomies in Carlo Collodi’s Le avventure di Pi- nocchio. Storia di un burattino through its implications on the level of comic and popular culture. On the one hand, starting from chapters I-III and VIII, it analyses Collodi’s reflec- tion on artistic creation and its connection with fatherhood, especially on its binarisms («artista»/«pezzo di legno», «idea»/«burattino», reality/imagination, and so on). On the other hand, it delves into the relation between the “body” and the “order”, as well as the close connection with the issue of “transgression”, that in Pinocchio is validated both in ethic and aesthetic terms.This paper examines some essential dichotomies in Carlo Collodi’s Le avventure di Pi- nocchio. Storia di un burattino through its implications on the level of comic and popular culture. On the one hand, starting from chapters I-III and VIII, it analyses Collodi’s reflec- tion on artistic creation and its connection with fatherhood, especially on its binarisms («artista»/«pezzo di legno», «idea»/«burattino», reality/imagination, and so on). On the other hand, it delves into the relation between the “body” and the “order”, as well as the close connection with the issue of “transgression”, that in Pinocchio is validated both in ethic and aesthetic terms
Hypsēlà phroneîn. Orgoglio intellettuale e retorica del sublime. Una nota in margine a Paul. Rom. 11.21
Full text linkIn the early modern period, St. Paul’s moral injunction (Rom. 11.21) mḕ hypsēlophrónei allà phoboû, noli altum sapere, sed time («be not highminded, but fear») was often distorted as if it meant «you should not know high things» and was interpreted as a warning against intellectual knowledge. In reality, Saint Paul’s admonition recalls some traditional Greek commonplaces such as self-knowledge and thinking mortal thoughts. Furthermore, already the ancient experience of the hypsēlophroneîn couples the moral meaning with the intellectual one, but also includes an aesthetic dimension effectively illustrated by the rhetoric of sublime (as attested by Philo of Alexandria and especially by Longinus).In the early modern period, St. Paul’s moral injunction (Rom. 11.21) mḕ hypsēlophrónei allà phoboû, noli altum sapere, sed time («be not highminded, but fear») was often distorted as if it meant «you should not know high things» and was interpreted as a warning against intellectual knowledge. In reality, Saint Paul’s admonition recalls some traditional Greek commonplaces such as self-knowledge and thinking mortal thoughts. Furthermore, already the ancient experience of the hypsēlophroneîn couples the moral meaning with the intellectual one, but also includes an aesthetic dimension effectively illustrated by the rhetoric of sublime (as attested by Philo of Alexandria and especially by Longinus)
Una nota su metafora e ontologia in Paul Ricœur
Full text linkIn the last three studies of The rule of metaphor, Ricœur directly develops a referential model for the metaphorical enunciation. Thus, in this contribution, I would like to focus on the ideas that leads Ricœur to speak of a notion of «metaphorical truth», certainly retracing some well-known places on his page (par. I), but also highlighting a point that has not always been adequately emphasised – the reading of metaphors in “configurative” terms (par. II). This last point will serve, in conclusion and as a future avenue of enquiry, to make a small but necessary remark to the ontological development of the ricœurian model of metaphor: the idea that the author is suggesting not only the existence of a reprise at the conceptual level of the creative dynamism proper to metaphorical enunciation, but also the specific determination of this dynamism – its proper “quid” (par. III).In the last three studies of The rule of metaphor, Ricœur directly develops a referential model for the metaphorical enunciation. Thus, in this contribution, I would like to focus on the ideas that leads Ricœur to speak of a notion of «metaphorical truth», certainly retracing some well-known places on his page (par. I), but also highlighting a point that has not always been adequately emphasised – the reading of metaphors in “configurative” terms (par. II). This last point will serve, in conclusion and as a future avenue of enquiry, to make a small but necessary remark to the ontological development of the ricœurian model of metaphor: the idea that the author is suggesting not only the existence of a reprise at the conceptual level of the creative dynamism proper to metaphorical enunciation, but also the specific determination of this dynamism – its proper “quid” (par. III)
Digital Aesthetics
Full text linkAs suggested by Walter Benjamin in the famous essay on The Work of Art in the Age of its Technological Reproducibility[1], the emergence of new technologies such as photography and cinema brought about a rearticulation of the collective sensorium, implying a perceptive modification of the modes of fruition, introducing the spectator to new somaesthetic habits and practices. Today, the idea of an essential change in the way we perceive the world has become true in a way that largely exceeds Benjamin’s expectations. Digital technologies have become more than just mere instruments. Rather, they have either taken the form of three-dimensional computer-generated and responsive environments, in which users interact through their bodies (like virtual reality) or have been deeply integrated into perceptual milieu and into human’s bodily self, permeating and shaping his everyday experience (as AI and augmented or mixed reality). This issue aims to draw a provisional map of possible paths and work directions for digital aesthetics, without claiming to be exhaustive.
Great support in this direction comes from the heritage of the lively discussions held during the Summer School on Lake Como, from 29 May to 1 June 2023, at the prestigious venue of the Alessandro Volta Foundation in Como, under the direction of Maddalena Mazzocut-Mis. This gathering an opportunity to outline research axes by offering an active space for discussion that generated possibilities for problematic focus for both faculty and Ph.D. students. The present issue thus welcomes some of those suggestions which have blossomed and borne new fruit over the past year. At the same time, the large number of submissions we received led us to select additional texts that contribute to outlining an issue focusing on three main axes: Digital, Extended Realities, Artificial Intelligence.As suggested by Walter Benjamin in the famous essay on The Work of Art in the Age of its Technological Reproducibility[1], the emergence of new technologies such as photography and cinema brought about a rearticulation of the collective sensorium, implying a perceptive modification of the modes of fruition, introducing the spectator to new somaesthetic habits and practices. Today, the idea of an essential change in the way we perceive the world has become true in a way that largely exceeds Benjamin’s expectations. Digital technologies have become more than just mere instruments. Rather, they have either taken the form of three-dimensional computer-generated and responsive environments, in which users interact through their bodies (like virtual reality) or have been deeply integrated into perceptual milieu and into human’s bodily self, permeating and shaping his everyday experience (as AI and augmented or mixed reality). This issue aims to draw a provisional map of possible paths and work directions for digital aesthetics, without claiming to be exhaustive.
Great support in this direction comes from the heritage of the lively discussions held during the Summer School on Lake Como, from 29 May to 1 June 2023, at the prestigious venue of the Alessandro Volta Foundation in Como, under the direction of Maddalena Mazzocut-Mis. This gathering an opportunity to outline research axes by offering an active space for discussion that generated possibilities for problematic focus for both faculty and Ph.D. students. The present issue thus welcomes some of those suggestions which have blossomed and borne new fruit over the past year. At the same time, the large number of submissions we received led us to select additional texts that contribute to outlining an issue focusing on three main axes: Digital, Extended Realities, Artificial Intelligence