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Copyright of INTRECCI d'Arte is the property of Universita di Bologna, Dipartimento delle Arti visive, performative e mediali, Alma Mater Studiorum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Literary studies on the simulacrum generally adopt a thematic perspective aimed at examining the presence of simulacra in specific genres, authors or literary traditions. This contribution proposes a less common approach by investigating those cases in which literature itself acquires a simulacral nature, rather than being a means of representation of simulacra. After a brief historical recognition of the aesthetic of automation, the research focuses on stochastic and algorithmic poetry produced in Germany since the second half of the 20th century. The analysis of computer-generated poems offers the opportunity to reflect upon theoretical and aesthetical matters concerning e.g. the concept of authorship, the referentiality of literary texts, the role of creativity in art as well as the mechanical component involved in every act of artistic creation. In this context, the present contribution shows how the discussion on this form of “artificial poetry” (Max Bense) can contribute to the debate about posthumanism from a purely aesthetic point of view. [ABSTRACT FROM AUTHOR]

Written in 1922, the present essay by Baeumler on the aesthetics of Croce belongs to the period of the German philosopher's thought culminating with Das Irrationalitätproblem in der Ästhetik und Logik des 18. Jahrhunderts bis zur Kritik der Urteilskraft (1923), in which he works on a systematic project about a "logic of individuality". This concept, which appears in the western world with the birth of modern aesthetics, when the notion of "judgment of taste" established itself in the third Critique by Kant, will find in Croce, during the twentieth century, one of the most attentive Philosophers to the problem it implies. [ABSTRACT FROM AUTHOR]