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IL METAVERSO E LA DIGITAL TRANSFORMATION NEL SETTORE DELLA MODA
No full textIn recent years, the fashion industry has undergone a major change. As with many other industries, the so-called digital transformation, coupled with the impact of the COVID-19 pandemic, has triggered a momentous revolution, particularly within corporate organizations.
Many companies in the industry, driven by the need to engage with their audiences beyond physical spaces and to build connections with younger generations, have begun to establish a presence in digital spaces. The years 2020 and 2021, in particular, saw tremendous revenue growth for major gaming companies, with 2021 being recognized as the year of the metaverse.
In this context—marked by significant changes in the perception of spaces and a growing focus on sustainability—traditional fashion houses gradually began investing in and occupying metaverse platforms. At the same time, new fashion houses emerged that were fully dedicated to creating digital fashion.
This thesis, which consolidates three years of research, observations, and studies, aims to explore the metaverse phenomenon in the fashion industry and its role in the industry's transformation. Based on three hypotheses developed in the following chapters, we seek to understand the phenomenon and its managerial implications while paving the way for future organizational and multidisciplinary studies
Un’etica dell’energia*
No full textAn ethics of the energy.
Energy is something that comes from within ourselves and from without. If we think
of energy as a set of forces capable of producing an action on the individual, we
have to take into account both conscious and unconscious motivations. In fact,
energy is much more than the sum of its parts. If there is indeed an energy that
goes from the particular to the general, there must be an opposite dynamic that
redistributes to each individual a form of social energy from which particular
interests can benefit. Recovering the Bataille’s postulate between energy, surplus
and dépense, we explore how festive communion represents the acceptance of
excess as an element capable of regenerating the social bond in the face of the
wear and tear of everyday normalit
Sex and the City entre mode, métropole et eros. Une analyse sociologique.
No full textNous examinerons dans cet article la série télévisée Sex and the City dans
sa relation avec le système de la mode. La question étudiée concerne trois thèmes
fondamentaux : la séduction/l’érotisme, la mode et la métropole. Avec cette réflexion,
nous souhaitons reprendre des catégories théoriques du XX
e siècle : Simmel (la mode
dans son nœud existentiel) ; Baudrillard et Bataille (le thème de la séduction et de
l’érotisme) ; Benjamin (le devenir de la métropole), renouvelées au prisme de notre
contemporanéité, dans le cadre de la pop culture. L’envie de parler de nouveau de Sex
and the City nous est venue en apprenant que la série télévisée reprendra en 2021.
La réflexion présentée ici a un double objectif : reconstruire l’imaginaire audiovisuel,
expressif et productif de la série en l’identifiant comme une matrice et source généra
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trice d’autres productions en série
Metaverse: An Environmental Sustainability Tool?
No full textTo be genuinely competitive today, organizations cannot ignore ethical issues and their impact on the environment and the community. In the fashion industry specifically, the issue of sustainability has become central as the socio-environmental impact of the industry is enormous. The fast fashion model adopted by so many companies operating on the global market is the exact opposite of the ethical dimension of fashion that has been needed in recent years. Can innovation and the opportunities the Metaverse offers be the way to a more sustainable fashion? In recent years, many start-ups have sprung up that exclusively produce digital fashion, and many other companies whose core business is mainly in real life (IRL) have integrated digital fashion into their business strategies. Through the investigation of four case studies, the paper aims to investigate the lights and shadows of digital fashion in the Metaverse, trying to clarify whether this model is compatible with the need for a more sustainable fashion, especially from an environmental point of view
Immagini e riproducibilità del sé nella digital society: pratiche e strumenti digitali per la costruzione dell’identità
Full text linkHow are images changing in our contemporary world? How do individuals replicate themselves with the aim of constructing their own identity? In the era of digital society, exhibition is the keyword: what is not seen does not exist and every individual is an advertising object immersed into the consumer society. Public space becomes a stage and in this contex social media become spaces for the creation of one’s identity, providing the tools for staging the self. The need to be there in order not to disappear, and the possibility of representing oneself in the best possible way, encourages communication flows based on self-narration, giving rise to what Manuel Castells defines as mass self-communication. The transparency of each person, within the digital context, becomes a fundamental requirement of the social user. This essay aims to investigate the ways in which the reproducibility of the self, and in particular the branding of the self, which was foreseen by Andy Warhol, is a practice that is strongly present within social media. In particular, we intend to reflect on how digital presence becomes a tool for the creation of one’s identity. In this sense, we will analyse the variables of the body, which is subordinated to the same logic and variability of goods, in a perpetual tension towards beauty. Additionally, we will explore how body and face, as elements that aim to fix the human presence in a given event through the practice of selfies, strengthen their identity within the flow of images. Come cambiano le immagini nel nostro contemporaneo? In che modo ogni individuo replica sé stesso con l’obiettivo di costruire la propria identità? Nella digital society la parola d’ordine è esporre. Difatti ciò che non viene visto non esiste; ogni soggetto è l’oggetto pubblicitario di sé stesso immerso nella società dei consumi. Lo spazio pubblico diventa palcoscenico e in tal senso i social media diventano territori per la costruzione della propria identità, fornendo gli strumenti per la messa in scena del sé. La necessità di esserci per non scomparire e la possibilità di presentarsi nel modo migliore, favorisce i flussi comunicativi basati sulla narrazione di sé stessi, dando vita a quella che Manuel Castells definisce l’autocomunicazione di massa. La trasparenza di ognuno, all’interno del contesto digitale, diventa requisito fondamentale in quanto richiesto all’utente dei social. Il saggio vuol indagare le modalità della riproducibilità del sé, e in particolare la brandizzazione della propria persona, già anticipata dal lavoro di Andy Warhol, sia una pratica fortemente presente all’interno dei social media. In particolare si intende riflettere come la presenza digitale diventi dispositivo per la costruzione dell’identità. In tal senso analizzeremo le variabili del corpo sottoposto alle stesse logiche e variabilità delle merci in una perenne tensione verso la bellezza. E come corpo e viso, in quanto elementi che mirano a fissare la presenza umana in un dato evento, attraverso la pratica dei selfie, intendono rafforzare la propria identità inserendo sé stessi all’interno dei flussi di immagini
Gli abiti di scena gender fluid: l’influenza di Oskar Schlemmer su David Bowie e Lady Gaga
Full text link Nel 1922 Oskar Schlemmer portò in scena il Triadisches Ballett, una grande rivoluzione i cui effetti sono visibili ancora oggi. L’artista applicò i principi della scuola d’arte tedesca Bauhaus al mondo teatrale, trasformando il rapporto tra attori ed oggetti posti sulla scena in rapporti geometrici.
Schlemmer spoglia la figura umana delle sue caratteristiche intrinseche, prima fra tutte l’unicità, e la presenta in scena come una maschera costituita da elementi geometrici. Per Schlemmer i protagonisti dell’opera non hanno un sesso definito, gli abiti li trasformano in architetture semoventi. Il corpo non ha genere, è solo un insieme di linee, figure piane e solide. Gli abiti sono realizzati con quelli che Schlemmer definisce «elementi plastici colorati o metallici che si muovono nello spazio, realizzati con materiale che è tanto eccitante usare nel nostro tempo di invenzioni tecniche e di nuove sostanze».
La sperimentazione di Schlemmer era così avanguardistica da colpire anche gli artisti delle epoche successive. Il corpo diventa elemento centrale, «inteso come performance, cioè come costruzione sempre aperta dell’identità materiale»(Calefato, 1996). In più occasioni David Bowie, artista che ha reso il suo stesso corpo un’opera d’arte gender fluid, ha tratto ispirazione dalle opere di Schlemmer. Nel 1974 Bowie apparve nel video di Ziggy Stardust con un costume disegnato da Kansai Yamamoto, che di fatto riproduceva uno dei costumi del Triadisches Ballett. Nel dicembre 1979 Bowie si esibì al Saturday Night Live in un abito estremamente modulare, anch’esso sembrava appena uscito dal balletto di Schlemmer. Si trattava di un outfit con spalle larghe, stretto in vita e assottigliato verso i piedi. L’abito riduceva il corpo del cantante in una forma geometrica esattamente come i protagonisti dell’opera di Schlemmer.
La vivacità della sperimentazione di Schlemmer continua tutt’oggi a colpire l’immaginario degli artisti. Nel 2009 Lady Gaga si affida alla designer Bea Åkerlund per la realizzazione degli abiti da indossare sul set del video Paparazzi. La Åkerlund non viene dal mondo della moda tradizionale, ma da quello del design industriale (ha anche disegnato una collezione per Ikea). La designer decide di creare per Lady Gaga una commistione tra accessori di moda già presentati nelle sfilate di Thierry Mugler, John Galliano, Chanel, Christian Dior e Dolce & Gabbana, ed abiti realizzati appositamente per il video. L’obiettivo della Åkerlund è quello di dare nuova forma al corpo umano, in accordo sia con il pensiero di accettazione del proprio aspetto, di cui Lady Gaga si è sempre fatta portatrice, sia con la narrazione portata avanti dal regista del videoclip Jonas Åkerlund.
Per raggiungere il suo obiettivo, Bea Åkerlund trae ispirazione proprio dalla geometrizzazione del corpo umano proposta dalla sperimentazione di Oskar Schlemmer nel Triadisches Ballett. Situazione analoga nel video di Bad Romance, in cui gli abiti e gli accessori realizzati dal designer Alexander McQueen sembrano snaturare la corporeità di Lady Gaga: non esiste un femminile ed un maschile, ma solo forme.In 1922 Oskar Schlemmer staged the Triadisches Ballett, a great revolution whose implications are still visible today. The artist applied the principles of Bauhaus, the German school of art, to the theatre, transforming the connections between actors and objects placed on the stage into geometric relationships.
Schlemmer stripped the human figure of its intrinsic characteristics, first of all of its uniqueness, and showed it on the stage as a mask made up of geometric elements. For Schlemmer, the protagonists of his work did not have a defined sex, the clothes transformed them into self-moving architectures. The body had no gender, it was just a set of lines, flat and solid figures. The clothes were made by using what Schlemmer called «colored and metallic plastic elements that gravitate in space, created with materials whose use is very exciting in our time of technical inventions and substances».Schlemmer’s experimentation was so innovative as to inspire artists of later periods. The body became a central element, «considered as a performance, that is as an ever-open construction of material identity» (Calefato, 1996).
On several occasions David Bowie, an artist who made his own body a gender fluid work of art, was inspired by Schlemmer’s works. In 1974, in the Ziggy Stardust video, Bowie appeared wearing a costume designed by Kansai Yamamoto that reproduced one of the costumes from the Triadisches Ballett. In December 1979, the artist performed at Saturday Night Live, and for the occasion he wore an extremely modular dress that looked like one of the costumes from the Schlemmer’s Ballet. It was a tight-waisted outfit with broad shoulders. The dress turned the singer’s body into a geometric figure exactly like the protagonists of Schlemmer’s work.
The liveliness of Schlemmer’s experimentation still inspires the imagery of artists. In 2009, Lady Gaga gave the designer Bea Åkerlund the task of designing the clothes for the set of Paparazzi. Åkerlund does not belong to the world of traditional fashion, but she works in the field of industrial design (she even designed a collection for Ikea). The designer decided to combine fashion accessories, which had already appeared in the fashion shows of Thierry Mugler, John Galliano, Chanel, Christian Dior and Dolce & Gabbana, with clothes created specifically for the video clip. Åkerlund’s aim was to give a new shape to the human body by integrating two concepts: the acceptance of one’s own appearance, of which Lady Gaga has always been a symbol, and the story narrated by the videoclip director Jonas Åkerlund. To achieve her goal, Bea Åkerlund was inspired by the geometrization of the human body proposed by Oskar Schlemmer’s experimentation in the Triadisches Ballett.
Similar situation is in the Bad Romance video, in which the clothes and the accessories created by the designer Alexander McQueen pervert the corporeity of Lady Gaga: there are no more female and male figures, there are only forms
Nft e Concerti: l’industria musicale tra liveness, sperimentazioni e alternative future
Full text linkLa pandemia ha definito diverse declinazioni della liveness nella dimensione digitale. Tra i settori più colpiti e che hanno dovuto reinventare linguaggi e forme comunicative, accanto al teatro quello della musica live (il tema disciplinare sul quale vogliamo riflettere). L’industria musicale, da sempre fortemente legata alla prossimità fisica, al necessario rapporto con la strada, inteso come luogo d’ispirazione e nutrimento (immaginiamo le subculture giovanili: dai teddy boys, ai mods, dal movimento hippie, al punk, dall’hip hop alla trap) si è tenacemente reinventata negli ultimi anni negli innovativi spazi digitali: dai social network ai concerti sui videogames (sperimentando un nuovo modo di comunicare e dando vita ad un rinnovato immaginario). Attraverso questo saggio si intende procedere verso una ricognizione e analisi delle pratiche della liveness multimediali, transmediali, intermediali nell’ambito musicale esaminando, in particolare, come gli NFT musicali (Non Fungible Tokens) si siano rivelati come una delle strade più promettenti per continuare a mantenere il legame emotivo, culturale ed identitario tra i performer e i fans. E gettando le basi per un’economia alternativa futura.The coronavirus pandemic has brought about several changes in the liveness of the digital dimension. The most damaged sectors that had to rethink languages and forms of communication, include theatre but also live music which is the focus of our paper. The music industry – strictly linked to the physical proximity and to the necessary connection with the street intended as a place of inspiration and nourishment (think of youth subcultures: form Teddy Boys, to Mods, from Hippies to Punks, from Hip Hop to Trap) – has stubbornly reinvented itself in recent years making the most of digital spaces: from social networks to virtual concerts in video games (developing a new way to communicate and giving life to a renewed imagery). The aim of this paper is to move towards a survey and analysis of multimedia, transmedia, and crossmedia liveness practices in music looking in particular at how music NFTs (Non Fungible Tokens) have proved to be one of the most promising ways to preserving an emotional, cultural and identity-making connection between performers and fans. And to lay the foundations for a future alternative econom
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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