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The Project GPTheatre: Objectives and Phases
No full textWhat follows is an excerpt from the final report that the members of GPTheatre submitted to the University of Milan, aimed at clarifying for interested readers the objectives and the different phases of the project.What follows is an excerpt from the final report that the members of GPTheatre submitted to the University of Milan, aimed at clarifying for interested readers the objectives and the different phases of the project
Experimenting with AI Aesthetics, Creativity and Humanistic Knowledge Today
No full text
The following introduction opens the present issue of Itinera by gathering a selection of the papers presented at the conference Artificial Intelligence to the Test. Creativity and Humanistic Knowledge Today (Università degli Studi di Milano, May 8–9, 2025). The issue examines how contemporary art engages with artificial intelligence not as a neutral instrument but as a dialogical partner in thought and creation. Moving beyond polarized narratives that cast AI either as a threat or as an enhancement of human capacities, the introduction explores the relational space in which human and machine agencies interact, generating new meanings and aesthetic possibilities. By foregrounding interaction rather than autonomy or technical performance, it proposes a framework for understanding AI-based artistic practice as a site for rethinking authorship, intention, and the co-constitutive evolution of humans and their technologies.The following introduction opens the present issue of Itinera by gathering a selection of the papers presented at the conference Artificial Intelligence to the Test. Creativity and Humanistic Knowledge Today (Università degli Studi di Milano, May 8–9, 2025). The issue examines how contemporary art engages with artificial intelligence not as a neutral instrument but as a dialogical partner in thought and creation. Moving beyond polarized narratives that cast AI either as a threat or as an enhancement of human capacities, the introduction explores the relational space in which human and machine agencies interact, generating new meanings and aesthetic possibilities. By foregrounding interaction rather than autonomy or technical performance, it proposes a framework for understanding AI-based artistic practice as a site for rethinking authorship, intention, and the co-constitutive evolution of humans and their technologies
Starting from Foucault’s Aesthetics of Existence and Shusterman’s Somaesthetics. Ethics, Politics, and the Art of Living
No full textThis essay takes its cue from the collective volume Foucault\u27s Aesthetics of Existence and Shusterman\u27s Somaesthetics. Ethics, Politics, and the Art of Living (eds. Valentina Antoniol and Stefano Marino, Bloomsbury Academic, 2024) is a timely and ambitious work that discusses two major philosophical approaches to the body and subjectivity. While the book\u27s essays explore the intersections and tensions between the aesthetics of existence and somaesthetics—highlighting their shared concern with embodied practices of self-formation, ethical transformation, and resistance to normative power structures—my reading gradually turned into an extended reflection on the notion of the Bio-Soma that emerges from these dialogues. The collection explores the intersections and tensions between aesthetics of existence and somaesthetics, highlighting their shared concern with embodied practices of self-formation, ethical transformation, and resistance to normative power structures. Through a rich and well-structured set of contributions, the volume maps the body as a critical medium, political agent, and aesthetic space of creativity and reciprocity. Contemporary debates on the ethics and politics of embodied subjectivity are relevant for rethinking the relationship between bio- and soma-power today.This essay takes its cue from the collective volume Foucault\u27s Aesthetics of Existence and Shusterman\u27s Somaesthetics. Ethics, Politics, and the Art of Living (eds. Valentina Antoniol and Stefano Marino, Bloomsbury Academic, 2024) is a timely and ambitious work that discusses two major philosophical approaches to the body and subjectivity. While the book\u27s essays explore the intersections and tensions between the aesthetics of existence and somaesthetics—highlighting their shared concern with embodied practices of self-formation, ethical transformation, and resistance to normative power structures—my reading gradually turned into an extended reflection on the notion of the Bio-Soma that emerges from these dialogues. The collection explores the intersections and tensions between aesthetics of existence and somaesthetics, highlighting their shared concern with embodied practices of self-formation, ethical transformation, and resistance to normative power structures. Through a rich and well-structured set of contributions, the volume maps the body as a critical medium, political agent, and aesthetic space of creativity and reciprocity. Contemporary debates on the ethics and politics of embodied subjectivity are relevant for rethinking the relationship between bio- and soma-power today
"La forma quanto l\u27essere". Un\u27estetica alla base della diversità biologica
No full textQuesto articolo propone un\u27ipotesi estetica sulla diversità e la differenziazione biologica, basandosi su una lettura congiunta dell\u27epigenesi della razionalità di Catherine Malabou e dell\u27eterogenesi differenziale di Alessandro Sarti, Giovanna Citti e David Piotrowski. Nonostante la loro distanza teorica, entrambe queste prospettive indagano l\u27emergere di nuove forme biologiche e nuove morfologie sottostanti. Sosteniamo che entrambe puntano implicitamente verso un\u27aisthesis del vivente, in cui la differenza e la differenziazione precedono la determinazione funzionale dei processi morfogenetici."Form as much as being". An aesthetic at the basis of biological diversity
This paper proposes an aesthetic hypothesis on biological diversity and differentiation, drawing on a joint reading of Catherine Malabou’s epigenesis of rationality and Alessandro Sarti, Giovanna Citti, and David Piotrowski’s differential heterogenesis. Despite their theoretical distance, both these perspectives investigate the emergence of novel biological forms and new underlying morphologies. We argue that both implicitly point toward an aisthesis of the living, wherein difference and differentiation precede the functional determination of morphogenetic processes
Re-mediation and remedies: positioning ecological art of the 21st century in the quest for biodiverse future
No full textThe paper addresses the development of ecological art or Eco Art movements since the inception of the new millennium, focussing on the re-mediation of artistic practices towards sustainable futures and the emerging remedies in the quest for biodiversity consciousness. Starting with an analysis of engagement as a peculiar legacy of the 20th century Avant-Gardes, the paper discusses the shift in the 21st century with regard to the environmental awareness of artists engaged in sustainability. The paper argues that practitioners and practices have evolved in a twofold direction: on the one side towards a manifest way of positioning themselves in relation to sustainability issues, while on the other side exploring a set of postmodernist devices as societal remedies in the frame of biodiversity topics.Rimedio e rimedi: posizionare l\u27arte ecologica del XXI secolo nella ricerca di un futuro biodiverso
Il contributo affronta lo sviluppo dei movimenti di arte ecologica o Eco-arte dall’inizio del nuovo millennio, concentrandosi sulla “ri-mediazione” delle pratiche artistiche verso futuri sostenibili e sui rimedi emergenti nella ricerca di una nuova coscienza della biodiversità. A partire da un’analisi del concetto di engagement, eredità peculiare delle Avanguardie del XX secolo, l’articolo discute lo spostamento avvenuto nel XXI secolo rispetto alla consapevolezza ambientale delle artiste e degli artisti impegnati nella sostenibilità. Si sostiene che pratiche e praticanti si siano evoluti in una duplice direzione: da un lato, verso un posizionamento esplicito rispetto alle questioni di sostenibilità; dall’altro, verso l’esplorazione di dispositivi postmoderni intesi come rimedi sociali nell’ambito dei temi della biodiversità
Verso una moda ecologica: la lezione di Eugen Fink e i nuovi tessuti cruelty-free
No full textTowards eco-friendly fashion: Eugen Fink\u27s lesson and new cruelty-free fabrics
Fashion is compared by Eugen Fink to Japanese cherry blossoms, which although beautiful and bright the wind carries away quickly: traditionally considered ephemeral and fleeting, fashion is a cultural phenomenon to be taken seriously. The ethical challenge in fashion today is how to safeguard the planet and respect the environment. The green revolution in the fashion industry tends to replace chemical products with natural ones, among which vegan materials are of particular importance. The essay shows how the use of eco-friendly fabrics does not in any way reduce the aesthetic value of fashion items and that new recycled materials, based on circular economy, nevertheless make it possible to obtain high-quality products.La moda viene paragonata da Eugen Fink ai fiori di ciliegio giapponesi, che, sebbene belli e luminosi, vengono rapidamente spazzati via dal vento: tradizionalmente considerata effimera e fugace, la moda è un fenomeno culturale da prendere sul serio. La sfida etica nella moda odierna è quella di salvaguardare il pianeta e rispettare l’ambiente. La rivoluzione verde nel settore della moda tende a sostituire i prodotti chimici con quelli naturali, tra cui i materiali vegani rivestono particolare importanza. Il saggio mostra come l’uso di tessuti eco-compatibili non riduca in alcun modo il valore estetico dei capi di moda e che i nuovi materiali riciclati, basati sull’economia circolare, consentano comunque di ottenere prodotti di alta qualità
Artivismo transmedia I4 en el ecosistema mediático: remediación, reapropiacionismo y viralización en la era del produso
No full textArtivismo transmediale I4 nell\u27ecosistema mediatico: rimediazione, riappropriazione e viralizzazione nell\u27era del produso
Proprio come le specie si adattano, coesistono e si estinguono, anche i media evolvono in base al contesto del momento. La ricerca ruota attorno al ruolo guida del produttore nei processi di eco-alfabetizzazione per promuovere la difesa della biodiversità. Lo sviluppo di strategie innovative —da una prospettiva estetica ed educomunicativa, basata sull\u27ecosistema (post)digitale— può contribuire a generare espressioni socioculturali all\u27avanguardia, creando al contempo un ambiente sicuro per l\u27accesso a informazioni che sono generalmente incomprensibili, inefficaci o addirittura inaccessibili attraverso i circuiti comunicativi, culturali e pedagogici tradizionali. Lo studio introduce una nuova metodologia chiamata «Transmedia Artivism i4», risultante dalla convergenza tra la diffusione della ricerca, l\u27innovazione nell\u27edu-comunicazione e il media artivismo. Nel caso della promozione del coinvolgimento dei cittadini per la conservazione della diversità biologica, le pratiche di ibridazione e l\u27evoluzione dei media contribuiscono a rafforzare la funzione metacomunicativa delle espressioni artistiche e socioculturali in ambienti ibridi, risultanti dalla combinazione di azioni in spazi fisici e interconnessi. La presente proposta sostiene il potenziale di empowerment delle strategie esperienziali multipiattaforma basate sulla riappropriazione e la co-creazione per informare, sensibilizzare e creare azioni a difesa della biodiversità. Basandosi sull\u27osservazione dell\u27influenza del cyberattivismo insieme al culture jamming, all\u27arte performativa, immersiva e guerrilla, comprenderemo in cosa consiste questa sottocategoria dell\u27artivismo mediatico.Transmedia artivism I4 in the media ecosystem: remediation, reappropriation and viralisation in the age of the produso
Just as species adapt, coexist, and become extinct, media evolve according to the context of the moment. The research revolves around the leading role of the producer in eco-literacy processes to promote the defense of biodiversity. The development of innovative strategies —from an aesthetic and educommunicative perspective, based on the (post)digital ecosystem— can contribute to generating cutting-edge sociocultural expressions, while establishing a safe environment for accessing information that is generally incomprehensible, ineffective, or even inaccessible through traditional communicative, cultural, and pedagogical circuits. The study introduces a new methodology called «Transmedia Artivism i4», resulting from the convergence of research dissemination, innovation in educommunication, and media artivism. In the case of promoting citizen engagement for the conservation of biological diversity, practices of hybridization and media evolution contribute to strengthening the metacommunicative function of artistic and sociocultural expressions in hybrid environments, resulting from the combination of actions in physical and interconnective spaces. The current proposal advocates for the empowering potential of multiplatform experiential strategies based on reappropriation and co-creation to inform, raise awareness, and create action in the defense of biodiversity. Based on the observation of the influence of cyberactivism alongside culture jamming, performative, immersive, and guerrilla art, we will understand what this subcategory of media artivism consists of
Tecniche di disinteresse. Piacere estetico e azioni orientate allo scopo da Kant a Simondon
No full textTechniques of Disinterestedness. Aesthetic Pleasure and Purpose-Oriented Actions from Kant to Simondon
Kantian aesthetics has often been read as attempting to ground on disinterested pleasure the difference between aesthetic experience of the work of art and purpose-oriented action, which can at best be combined with interested pleasure. Both George Dickie and Thomas Hilgers, though from different readings, agree that disinterestedness excludes practical activity. I intend to show that an aesthetics that takes its cue from Kant can consider examples of practical activity as cases in which disinterested pleasure occurs. This happens in cases in which experience is linked to the interest of human beings in finding agreement between nature and freedom. The fact that Kant uses technique as an example to explain some features of aesthetic judgment shows that the Kantian difference between technique and art is less clear-cut than it might appear. On the basis of the relationship between technique and art, it is possible to reflect on cases in which aesthetic pleasure is not pure and thus a relationship between interest and disinterest is allowed. I will highlight that Gilbert Simondon’s techno-aesthetics further deepens the link between interest and disinterest. This link appears in an exemplary way when the technical operation is accompanied by a pleasure that cannot be reduced to the simple mechanism of impressions but requires a rethinking of aesthetics as reflections on the conditions of possibility of our operation.L\u27estetica kantiana è stata spesso interpretata come un tentativo di fondare sul piacere disinteressato la differenza tra l\u27esperienza estetica dell\u27opera d\u27arte e l\u27azione orientata allo scopo, che può al massimo essere combinata con il piacere interessato. Sia George Dickie che Thomas Hilgers, sebbene partendo da letture diverse, concordano sul fatto che il disinteresse esclude l\u27attività pratica. Intendo dimostrare che un\u27estetica che prende spunto da Kant può considerare gli esempi di attività pratica come casi in cui si verifica il piacere disinteressato. Ciò accade nei casi in cui l\u27esperienza è legata all\u27interesse degli esseri umani nel trovare un accordo tra natura e libertà. Il fatto che Kant utilizzi la tecnica come esempio per spiegare alcune caratteristiche del giudizio estetico dimostra che la differenza kantiana tra tecnica e arte è meno netta di quanto possa sembrare. Sulla base del rapporto tra tecnica e arte, è possibile riflettere su casi in cui il piacere estetico non è puro e quindi è consentito un rapporto tra interesse e disinteresse. Sottolineerò che la tecnoestetica di Gilbert Simondon approfondisce ulteriormente il legame tra interesse e disinteresse. Questo legame appare in modo esemplare quando l\u27operazione tecnica è accompagnata da un piacere che non può essere ridotto al semplice meccanismo delle impressioni, ma richiede un ripensamento dell\u27estetica come riflessione sulle condizioni di possibilità della nostra operazione
Ecology as Aesthetic Practice Emotions and Relationality in Arne Næss’s Deep Ecology
No full textL’ecologia come pratica estetica. Emozioni e relazionalità nell’ecologia profonda di Arne Næss
Questo articolo esplora il ruolo fondamentale dell\u27esperienza estetica, delle emozioni e della relazionalità nella filosofia dell\u27ecologia profonda di Arne Næss. Sfidando il tradizionale dualismo tra ragione ed emozione, il documento sostiene che la consapevolezza ecologica e l\u27impegno etico emergono da un modo incarnato ed estetico di interagire con il mondo. Attingendo alle intuizioni fenomenologiche e alla teoria della Gestalt, esso evidenzia come la percezione dell\u27ambiente come un tutto interconnesso trasformi il senso di sé del soggetto e favorisca una connessione gioiosa e affettiva con la natura. Per Næss, riconnettersi con queste relazioni essenziali implica una profonda comprensione del fatto che le nostre identità sono strettamente plasmate dai contesti ecologici in cui viviamo. L\u27aria fresca che respiriamo, il cibo nutriente che consumiamo e gli ambienti diversificati in cui viviamo contribuiscono ciascuno all\u27essenza di ciò che siamo come individui. Questa visione risuona fortemente con il concetto stoico di oikeiosis, che sottolinea l\u27importanza di familiarizzare con il mondo che ci circonda e di entrare in sintonia emotiva con esso, promuovendo un senso di appartenenza al suo interno. All\u27interno di questo ricco quadro, le emozioni giocano un ruolo cruciale. Al centro di questa argomentazione c\u27è il concetto di hilaritas, ovvero il gioioso riconoscimento di appartenere alla più ampia comunità ecologica, che è alla base della responsabilità ecologica e dell\u27azione ambientale sostenibile. Inquadrando l\u27ecosofia di Næss in un contesto filosofico più ampio che include Spinoza e le teorie contemporanee sull\u27atmosfera e l\u27affettività, l\u27articolo propone un\u27estetica ecologica che è al tempo stesso una pratica di relazionalità etica e di gioia incarnata. Questo approccio offre nuove prospettive su come la sensibilità estetica possa catalizzare un impegno ambientale più profondo nell\u27Antropocene.This article explores the pivotal role of aesthetic experience, emotions, and relationality in Arne Næss’s philosophy of Deep Ecology. Challenging the traditional dualism between reason and emotion, the paper argues that ecological awareness and ethical commitment emerge from an embodied, aesthetic mode of engagement with the world. Drawing on phenomenological insights and Gestalt theory, it highlights how perceiving the environment as an interconnected whole transforms the subject’s sense of self and fosters a joyful, affective connection with nature. For Næss, reconnecting with these essential relationships involves a deep understanding that our very identities are intricately shaped by the ecological contexts in which we dwell. The fresh air we breathe, the nourishing food we consume, and the diverse environments we inhabit each contribute to the essence of who we are as individuals. This vision resonates powerfully with the Stoic concept of oikeiosis, which emphasises the importance of growing familiar with and emotionally attuned to the world around us, fostering a sense of belonging within it. Within this rich framework, emotions play a crucial role. Central to this argument is the concept of hilaritas – the joyous recognition of belonging to the broader ecological community, which grounds ecological responsibility and sustained environmental action. By situating Næss’s ecosophy within a wider philosophical lineage that includes Spinoza and contemporary theories of atmosphere and affect, the article proposes an ecological aesthetics that is simultaneously a practice of ethical relationality and embodied joy. This approach offers new perspectives on how aesthetic sensibility can catalyse deeper environmental engagement in the Anthropocene
Pratiche visive e immaginazione algoritmica/ Visual Practices and Algorithmic Imagination
No full textThis paper articulates a theoretical and methodological framework for understanding the visual apparatus of ViaggIAccademici as a locus of negotiation between human cognition and algorithmic generativity. Rather than treating generative AI as a merely operative tool, the study conceptualises prompting as a form of visual dramaturgy through which the theatrical text is reconfigured into a sequence of iconogenic units. The integration of LLM-mediated descriptions, hand-drawn studies and diffusion-based image synthesis reveals how artistic intentionality is modulated, refracted and at times destabilised by the latent structures governing machine-learning models. By incorporating a customised painterly dataset, the research examines stylistic drift, the epistemic status of the glitch and the emergence of visual indeterminacy as constitutive aesthetic conditions rather than technical contingencies. The resulting corpus of images and videos operates not as representational support but as a critical dispositif that expands the dramaturgical field, interrogating the boundaries between authorship, perception and algorithmic inference. The paper ultimately argues that contemporary artistic practice in the context of generative AI demands a shift toward a paradigm of co-emergent imagination, in which human and computational agencies converge to produce novel regimes of visual sense-making.This paper articulates a theoretical and methodological framework for understanding the visual apparatus of ViaggIAccademici as a locus of negotiation between human cognition and algorithmic generativity. Rather than treating generative AI as a merely operative tool, the study conceptualises prompting as a form of visual dramaturgy through which the theatrical text is reconfigured into a sequence of iconogenic units. The integration of LLM-mediated descriptions, hand-drawn studies and diffusion-based image synthesis reveals how artistic intentionality is modulated, refracted and at times destabilised by the latent structures governing machine-learning models. By incorporating a customised painterly dataset, the research examines stylistic drift, the epistemic status of the glitch and the emergence of visual indeterminacy as constitutive aesthetic conditions rather than technical contingencies. The resulting corpus of images and videos operates not as representational support but as a critical dispositif that expands the dramaturgical field, interrogating the boundaries between authorship, perception and algorithmic inference. The paper ultimately argues that contemporary artistic practice in the context of generative AI demands a shift toward a paradigm of co-emergent imagination, in which human and computational agencies converge to produce novel regimes of visual sense-making