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Dans la lignée de nos travaux précédents, nous souhaitons aborder le sujet d’une pédagogie de la réceptivité des arts visuels. Aujourd’hui cette pédagogie se doit de prendre en compte la risquée rouée vers l’utilisation, très souvent dépourvue de sens critique, de l’intelligence artificielle (IA). A chaque instant nous regardons autour de nous. Ce regard est orienté en fonction de ce que la société dans laquelle nous vivons nous propose comme étant digne d’être regardé. Souvent nous regardons sans vouloir, nous voyons ce dont nous n’avons pas besoin. Plus que jamais nous sommes envahis par l’image. Qu’elle soit artistique (des belles photos, des tableaux) ou simple fragment de réalité, sans oublier l’image de synthèse produite avec l’aide de l’intelligence artificielle, celle-ci requiert un certain degré de compréhension et de transformation à travers l’acte pédagogique. Le cerveau saturé d’images perd progressivement sa faculté d’imagination or cela risque de poser des sérieux problèmes au monde de l’éducation et à nous, dont la mission consiste à pratiquer et à enseigner la communication. Ces aspects nous renvoient à la notion de perception et plus particulièrement à la perception sensible affective, intellectuelle et émotionnelle. Notre but étant de souligner la nécessité d’une appétence pour l’art, nous allons dans un premier temps donner un aperçu de communication visuelle grâce à des images artistiques « réelles » et générées par l’IA, et ensuite proposer une approche simple afin de tenter de comprendre comment ce besoin de regarder le beau se construit, avec quels moyens, et par quelles voies. Aujourd’hui nous savons que ce goût pour l’art, loin d’être systématiquement cultivé dans les milieux scolaires et universitaires, reste néanmoins gage d’une bonne santé émotionnelle. Enfin, nous concluons sur le besoin vital de cultiver l’art et d’encourager sa pratique dans les milieux académiques.

The elementary school teaching process is an important element in shaping a young person's personality, where knowledge, sensory and aesthetic impressions are provided through curiosity. Art education plays an important role in the process of developing imagination, creativity and manual skills. Visual arts textbooks are a key tool in teaching art and architecture. The purpose of this article is to analyze art textbooks issued in the last 5 years for elementary schools approved by the Ministry of Education. The content and included illustrative material from four available publications were analyzed. The collected information was juxtaposed with what is known, popular and frequented by tourists around the world. The article pays attention to the objects of sacred architecture, recognizing them as valuable cultural heritage. An analysis of art textbooks has shown that the included illustrations and information in the various publications vary quite a bit, although the same art issues are covered. The content of textbooks should be consistent, supported by well-known examples that are characteristic icons of certain trends in art and architecture. The task should be to draw a young person's attention to the cultural, social, technological, economic and ecological meanings of art and architecture. They should teach conscious perception, selective and critical choice, as well as distance from oneself. The importance of art education is significant, as it plays an integrating role vis-à-vis other disciplines.

The growing presence of artificial intelligence (AI) in the management of civil and social life as well as in economic and political organization has led to a debate on AI involved in various scientific, philosophical, legal and moral questions, including cultural ones. In this paper, after a brief presentation of the application of AI in art and culture, we focus on art production using AI and the digital reproduction of art which temporally precedes that of AI-generated art. The very idea of artistic beauty emanating from works of art produced with AI is consequently questioned, giving rise to a new creativity that is to be added to the human creativity of an artist's products. Lastly, the possibility is raised that specific generative algorithms may contribute to the resolution of the topical debate on the issue of attribution and authentication of works of art.

This research aims to highlight the fundamental role of women gallerists within the Art Basel fair, from 1970 to 1979. This is a crucial historical period for the birth of contemporary art fairs and the art system as we know it today. The essay unfolds through two macro-sections: the first aims to create a historical framework and concerns a review of the literature that dealt with women within the art world in the 1970s by addressing authors such as Nocklin, Mainardi, Pollock and Lea Vergine, while rediscovering rarely known articles such as "We are Feminists", a dialog conducted by Gerhild Grolitsch with Gislind Nabakowsk in 1976. Next, it shifts to the research of the last years about these topics in the Art Market Studies, showing how most of the articles are about statistical analyses on women artists and that they have been carried out either by cultural economists or sociologists, and not by Visual Studies or art history researchers. In addition, in most cases these analyses have been conducted by female scholars. The second section attempts to shed light to the role of women gallerists in the 1970s at Art Basel, arguing that their contribution has gone undervalued. There are three gallerists who participated in all the editions of the 1970s, and who not only exhibited their artists but also took leadership roles. These early pioneers not only made pivotal contributions to Art, the original name of what is currently known as Art Basel, but were also responsible for its schedule, development and some important exhibitions. They are Trudl Bruckner (Riehentor Gallery) from Switzerland, Annely Juda from Great Britain, originally from Germany, and Denise René from France, who imposed themselves in a predominantly male-dominated business. The artistic choices within their booths will thus be presented, as well as their collaboration in national exhibitions that occurred within the fair, such as: the British Exhibition of 1975 and the French Exhibition of 1978. However, an analysis of the rosters showed that there was no distinctiveness of female choices and, indeed, they were almost nonexistent, probably also reflecting the difficulties of the emergence of female artists over the years. These names not only come across as foundational, but also can be considered as a litmus test of the fair's predominantly Eurocentric beginning. In addition to them, other gallerists will also be included in this narration.

Copyright of Orientamenti Pedagogici is the property of Pontificio Ateneo Salesiano (Facoltà di Scienze dell'Educazione dell'Università Pontificia Salesian) 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.)

In contemporary society, artificial intelligence (AI) impacts human lives to different extents, including reshaping the public's creative experience. Software and programs enable users to create images from scratch, notwithstanding their actual knowledge or competencies. The visual art system is currently facing an ongoing democratization process, in which the distance separating the creator and the informatic algorithm is gradually fading. Therefore, there is a growing need to analyze AI's implications on the creative process. The paper will analyze the different software and websites providing image-generating services while discussing their impact on society as a whole. [ABSTRACT FROM AUTHOR]

RESEARCH OBJECTIVE: This article aims to present the anthropological, aesthetic, and pedagogical foundations of Jerzy Vetulani’s postulate of artistic education and compare it with Irena Wojnar’s concept of aesthetic education. THE RESEARCH PROBLEM AND METHODS: The research questions are: What are the anthropological, aesthetic, and pedagogical foundations of Vetulani’s postulate of artistic education? Is there a similarity between Vetulani’s postulate and Wojnar’s proposal of education through art? To achieve these objectives, the content analysis method based on Karolina Szczepaniak’s model was used. THE PROCESS OF ARGUMENTATION: Starting with Vetulani’s neurobiological views, the article first presents art as a defining characteristic of homo sapiens and a key activator of the human brain, especially its cognitive functions. It then discusses the pedagogical assumptions of Vetulani’s postulate. The comparison between Vetulani’s and Wojnar’s concepts is made by examining their anthropological assumptions and the role of art in human development. RESEARCH RESULTS: According to Vetulani, the relationship between humans and art is bio- logically determined, with art being essential for achieving full humanity. Both Vetulani and Wojnar view humans as inherently open to art, which plays a significant role in the upbringing process. CONCLUSIONS, RECOMMENDATIONS, AND APPLICABLE VALUE OF RESEARCH: Vetulani and Wojnar both emphasize the importance of art in human education. Brain imaging technology can enhance traditional aesthetic education. Activating the brain’s cognitive functions through art, particularly cognitive attention as highlighted by Vetulani, can be beneficial in treating common concentration disorders in children and adolescents.

This article focuses on the representation of St Lucy in early Iberian art and literature, considering the extent to which her identity becomes subject to procedures of evolution. In some artworks, Lucy is characterized as the saint who could not be moved either by men or yokes of oxen. Yet in others she is presented either as the saint who was blinded, or more radically, as a figure who suffers a forced mastectomy. The article argues that her example, which raises broader implications for the study of hagiography and of identity in general, shows that we should avoid focusing on representations of saints that are confined exclusively either to art or to literature.

This paper explores the intersection of art, technology, and human experience in the context of generative artificial intelligence (GAI). It examines the implications of GAI in artistic creation, emphasizing its role in expanding and transforming traditional artistic practices. Pireddu uses the exhibition I'm not a robot as a case study, highlighting how artists integrate GAI into their works to challenge and reinterpret the human condition through technology. Francesco D'Isa, Fabrizio Ajello, and Piero Fragola with Matteo Giampaglia utilize GAI to produce unique artistic expressions that blend digital and traditional media, questioning the boundaries between human and machine creativity. Pireddu delves into the phenomenological aspects of human-machine interaction, drawing on Merleau-Ponty's concept of the body as an expressive space and Varela's enactive cognition. He argues that GAI redefines the creative process, necessitating a new understanding of the artist's role and the agency of technological tools. This shift challenges traditional notions of authorship and authenticity in art. Furthermore, the article situates these artistic practices within a broader mediological framework, considering the socio-technical systems that shape contemporary culture. Pireddu reflects on the implications of post-mediality, where traditional media boundaries dissolve, and cultural production is increasingly mediated by software and algorithms. He highlights the critical role of artists in navigating and interpreting these changes, positioning art as a means to anticipate and adapt to technological and environmental transformations. In conclusion, The New Fables presents a nuanced analysis of the evolving relationship between art, technology, and human experience, underscoring the generative potential of AI in redefining cultural practices and knowledge creation. [ABSTRACT FROM AUTHOR]

Despite their increasing visibility on highways and in prominent spaces in cities and villages across Nagaland and Naga-inhabited regions in northeast India since the early 1990s, monuments to the history of Naga nationalism have failed to garner significant scholarly attention. On the one hand, they are dismissed by urban Nagas as passive illustrations of the ideologically motivated “agendas” of Naga nationalist organizations. On the other, their continuities with the Naga stone monolith form remain unaddressed, rooted in the longstanding assumption that the influx of Christianity and literacy has meant that “tribal culture” is ruptured from the present. If the former approach suffers from a limiting historicism that imprisons the monument within a preconceived sense of historical and chronological time, the latter reproduces the problem of essentialism, which denies the Naga stone monolith any time. In this article, I challenge the dismissal of these monuments on both historicist and essentialist grounds. I demonstrate that theirformal, scalar, and spatial particularities materialize a monumental form that constantly slips across the border between the secular domain of the war monument and the ritual domain of the Naga stone monolith. This movement across these supposedly separate and opposed domains of practice enacts a plural and layered temporality, which foregrounds monumentality as the ground to engage the lived realities and histories of a borderland region. It also illuminates the political significance of the aesthetic in the Indigenously inhabited and politically contested region amidst its marginalization by the state in postcolonial South Asia.

This study attempts to identify the theme of light in the imagery of ancient Greco-Roman and Christian art through a comparative analysis of the context and evolution of artistic language before and after the Christianization of the Roman Empire. An essential criterion in understanding the new aesthetic paradigm and highlighting the means of artistic expression characteristic to the two periods temporally delimited by the event of the Incarnation, is the way in which artistic consciousness relates to divinity. The acceptance or not of the Revelation, the reflection in religious art of the fact that God became Man and He has a Face, as opposed to other philosophical quests and religious systems that dress up the idea of divinity and its attributes in the face of the gods, personifying it or imagining it symbolically, – makes the difference. God communicates Himself to man through light, light being the common denominator of any epistemology, without placing in competition or in opposition the knowledge that comes to us through Revelation with that acquired by man through scientific experiments. Paradox is a mark of light. Science has proven it with the wave-particle dualism of quantum mechanics and theology fully confirms it. Light is a Person who says of Himself that He is: ‘The Light of the World’. (John 8, 12). The theme of light has multiple meanings in biblical exegesis; from the metaphorical image that runs through the Book of Revelation to that of the incorporated Light (Lux incorporata), an interpretation that refers to the Mystery of the Incarnation, to the world transfigured by grace, to the uncreated light communicated to people by the heavenly hierarchies through the Church in the form of the Holy Mysteries. In the world of late Roman antiquity, and later in the Byzantine world, there was a belief that the veining or luminous veins of colored marble, gemstones or translucent stones were embedded rays of light, an intervention of divine light in the rock. The uniqueness of these ‘graphic accidents’ was interpreted as signs of God in the creation that suggests the unseen, the unusual, the ineffable, in short, the paradox of the Christian world summed up in this confession: that God is both One and Three, that Christ is both Man and God, and that Mary is both the Mother of God and the Virgin. The art of mosaics and stained glass, as well as the entire decorative complex of precious stones, gems and polychrome marbles adorning objects of worship and liturgical furnishings, is built on a long tradition that aesthetically and theologically values the motif of light. Dogmatic notions such as hypostatic union and perichoresis are symbolically translated into visually striking plastic expressions – provided by the natural textures of the cut and polished rocks – with the sole purpose of suggesting the dogmatic ‘contradictions’ of the Kingdom of Light which, as they say, ‘already exists, but not yet’.

Nous essayons de définir l’horizon de la pensée de Jean Starobinski en rendant compte de manière commentée des deux langages de la modernité. Jean Starobinski entre littérature et science, par Aldo Trucchio publié par BHMS en 2021. C’est un essai qui tente d’identifier la pensée de Starobinski, qui se base sur l’histoire du chevauchement entre le langage médical et la question littéraire et philosophique à travers les âges et sur la tentative de revaloriser certaines formes d’expression telles que la littérature, façonne d’autres facettes de l’art. Son approche est « sage » et s’affranchit de toute méthode réductionniste.

Founded in 1896, L’ERMA di Bretschneider is a historic publishing house, whose mission is to publish works of excellent academic reputation. The topics covered by the publications include archaeology, history, heritage conservation and management, Roman law, history of art and architecture, and literary criticism. L’ERMA di Bretschneider is unanimously recognized as the Italian publishing house par excellence for its scientific publications in the field of humanities, in particular archaeology, ancient history and art history. The intense research activity in historical, archaeological and artistic disciplines carried out by L’ERMA in collaboration with leading experts in the field and the most prestigious universities in the world, and the vast editorial catalogue which boasts over a century of collaboration with the Ministry of Culture and its constituent bodies and includes prestigious series and magazines, constitute today an invaluable wealth of cultural heritage, available not only to scholars and enthusiasts, but to the entire community.

The aim of this paper is to discuss the role of education and art in Deweyan thought, making a case for the overturning of the hierarchy between the theoretical and aesthetic dimension in educational theory. I shall pursue my attempt by drawing extensively from both Deweyan oeuvre and scholarly literature devoted to the issue. Based on those precedents, I wish to argue that Dewey conceived of both education and art as the very basis on which to deepen, intensify and enlarge experience. Moreover: the terrain where humans’ search for meaning and unity finds its fulfillment while bringing newness to the fore may be found exactly in education and art. Such an understanding comes to overturn the long-standing hierarchy between theoretical thinking, on the one hand, and aesthetic and ethics, on the other.

Chinese drama has its origins in primitive forms of singing and dancing, and has since evolved into a comprehensive art form with a rich history. It is considered one of the three ancient drama cultures, alongside ancient Greek drama and Indian Sanskrit drama. Different nations have different cultures with unique national characteristics, while personalized philosophical concepts play a leading role in the formation of culture. Science, literature, art, education, etc., that belong to the cultural category, are all guided and influenced by philosophical thoughts, and drama art is the same. This article discusses and analyzes the philosophical thoughts behind traditional Chinese drama culture.

Everyday aesthetics, at its core, is based on the supposed dichotomy between art and life, considering life as something routine-like, and art as the breaking of the routine, something charismatic. Different authors of everyday aesthetics use different words to describe this dichotomy. For example, in his article “What is ‘Everyday’ in Everyday Aesthetics?”, Ossi Naukkarinen simply uses everydayness and non-everyday-like, while Arto Haapala, in his “On the Aesthetics of the Everyday: Familiarity, Strangeness, and the Meaning of Place” uses the terms familiarity and strangeness. The authors also propose different ways of bridging this dichotomy. However, as the paper shows, the real question is not how to bridge the dichotomy itself but rather whether the dichotomy exists in the first place. Moreover, the paper suggests a change of direction in future investigations of everyday aesthetics, and focusing on the nuances that exist on the routine-charisma and charismatic-routine spectrum, supported by academic research and the personal account of the paper’s author art project. Moreover, the implications of this shift extend beyond the boundaries of everyday aesthetics.

Dans cet entretien, Eugénie Péron-Douté évoque le parcours remarquable de l’artiste iranien Omid Dashti, installé à Bruxelles, qui se dit « réfugié » plutôt qu’exilé, évitant ainsi toute stigmatisation liée à la migration.

This paper proposes a semiotic analysis of street artworks on the urban public space of cities. Street art works can appear as unimodal or multimodal texts, these latter activating multiple senses outside of vision. Works involved in this study are located on distribution cabinets, i.e., boxes containing thousands of telephone communications cables. An initiative launched in Toronto as a part of the STreetARToronto (START) program gave street artists the opportunity to transform distribution cabinets into artworks. The example of Toronto has been followed by some European cities. The result is a new aesthetic of public spaces, as well as a conception of public art tailored to social and cultural identity of cities and countries.

This article investigates how DeLillo depicts the impact of 9/11 in Cosmopolis and Falling Man through the antagonistic (intratextual) and oppositional (intertextual) connections between their characters, and then proves the importance of counter-narrative as a means to survive the encounter with communal and private tragedies. To this end, the articles provides a complementary analysis of DeLillo’s characterizations and stylistic choices in Cosmopolis and Falling Man, reading the novels through the lens of DeLillo’s essay “In the Ruins of the Future” (2001), Jean Baudrillard’s Simulacra and Simulation (1981) and “The Spirit of Terrorism” (2002), Jacques Derrida’s Writing and Difference (1967), Slavoj Žižek’s Welcome to the Desert of the Real (2002), and Søren Kierkegaard’s Either/Or (1843). While the two novels offer a Postmodern sublimation of the defining features and challenges of the post-9/11 lost sense of reality, I argue that Kierkegaard’s Modern philosophy is the key to a comprehensive reading of them, as it offers the theoretical ground for a metaphorical leap of faith that grants access to “a higher realm” of acceptance, overcoming the feeling of bewilderment and alienation in the aftermath of the late modern age.

This article discusses the third instalment of Ali Smith’s Seasonal Quartet, a work whose complex multi-voiced narrative addresses various important issues including the role of art in the contemporary world. The authors of the article employ two theoretical frameworks, Bakhtin’s theory of dialogism and Vermeulen and van den Akker’s studies on metamodernism, to argue that Smith adopts a dialogical approach to the theme of art. With the help of close reading the authors map the dialogical clashes between the main voices and the semantic positions which are taken in order to demonstrate that the central dialogue presented within the novel is that between postmodern and metamodern sensibilities. Special attention is paid to the character Richard who represents the clear replacement of the postmodern sensibility with a metamodern approach through his semantic position, as is informed by his search for universality in art, his neo-romantic turn to the appreciation of the beauty of nature and his rejection of the postmodern trends that produce superficial and inauthentic forms of art.

The use of holograms in exhibition design and the new frontier of inclusive communication to the public: how holograms enrich the cultural experience and how digital technology synthesizes the analog into experiences that amplify the perception of art and its meaning. When introduced to the topic of holograms for the first time, one's mind may wander to a diverse archive of pop culture and science fiction, transporting us to the distant worlds of Star Wars or Star Trek, or to the advertisements from Back to the Future. At first glance, holograms appear as nothing more than a fantasy, a glimpse into a technology seemingly too advanced for our time. However, enthusiasts know that the era of holograms has begun, and we are already engaged in an ongoing technological pursuit. Experts in the field are aware that technology's evolution has impressively expanded the horizons of hologram applications.

The Haitian Revolution was an event where various types of relationalities clashed and were challenged, but the art of the time tended to reduce this event to a stage of barbarism and massacres against the white population, thus reducing all relationalities to a dichotomy between civilisation and barbarism. [ABSTRACT FROM AUTHOR]

Nussbaum has been accused of instrumentalizing artistic work and undermining philosophical rigor with her project of a marriage between moral philosophy and literature. These voices, far from being residual in the debate that has made the thinker famous, show the innovative nature of her ideas for American Analytics. We believe that Nussbaum’s conception of art – which corroborates the philosopher’s cognitive-valuative theory of emotions –, as a transitional object and a site for the recognition of a common humanity, allows the criticism to be refuted. Also, it goes much further, legitimizing and substantiating a reading of the artwork as a space of relationship with one’s interiority and otherness. [ABSTRACT FROM AUTHOR]

Simone Weil uses the notion of soul to make her way beyond the horizon of phenomenality critically established by modern subjectivity. However, the Weilian way does not lead to an abandonment of the subjective polarity that interfaces with reality nor to a purely aesthetic turn of thought for which the primacy of the subject is replaced by that of the “other than the subject”, but to a re-articulation founded on the metaxological character of the soul. From this point of view, the ψυχή appears as the place of an erotic from which the possible mediation between sensitive and intelligible begins, a space of authentic inspiration and the first worksite of any kind of “art”. [ABSTRACT FROM AUTHOR]

Chronicle of the international conference Il dato dell’arte: oggetto e relazione, held on 24 and 25 May, at the University of Perugia and connected to the “Art and recognition” research group, which brings together, to date, around twenty of universities and numerous scholars, interested in the intersection of art, philosophy of mediation, history of philosophy, psychology and literature. [ABSTRACT FROM AUTHOR]

Levinassian perspective, influenced by Jewish tradition and French phenomenology, sees art as an idolatrous practice devoid of ethical value. In Noms Propres, however, poetry is the most proper expression of the face, as a language capable of reaching beyond being. The perspective offered in this work therefore seems to break with the previous criticism of art. [ABSTRACT FROM AUTHOR]

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Copyright of Education Sciences & Society is the property of FrancoAngeli srl 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 Education Sciences & Society is the property of FrancoAngeli srl 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 Education Sciences & Society is the property of FrancoAngeli srl 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 Education Sciences & Society is the property of FrancoAngeli srl 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.)

This paper aims to break new ground in the interpretation of the character of Richard in Half of a Yellow Sun by Chimamanda Ngozi Adichie. By analysing Richard’s literary narratives – in the forms of the ideas for his book, among others – and his artistic narrative of the roped pot, I will demonstrate that he challenges both colonial and cultural assumptions. By showing the intricate connection of different artistic forms in his multi-layered narratives, the inclusivity they reflect will be also examined and discussed.

The theme of the relationship between art and society is certainly not a central topic in the aesthetic reflection of Italian neo-idealism. Neither in Croce nor in Gentile it is ever discussed at length, and the few writings in which it is addressed are brief and polemically oriented. This essay, however, proposes to discuss the few hints present in Croce and Gentile on this subject. First, the debate on the materialistic interpretation of history will be examined, to which both Croce and Gentile made important contributions at the end of the 19th century. Secondly, Croce’s own way of doing the history of literature will be discussed, showing the differences that distance him from the Desanctisian model and also from the model derived from the Hegelian Aesthetics. Croce’s way of making history of literature, indeed, aroused harsh criticism after World War II and provoked a request for a “return to De Sanctis”.Finally, but the theme will be only hinted at in the essay, a brief reference will be proposed to the opinions of Antonio Gramsci and his reading of Croce.

The Effects of the Metaverse on People. Social and Political Risks of a Platform in the Making. The metaverse is configured as the final frontier of digital spaces: a land of opportunities (social, economic, technological, recreational). A space that is beginning to take shape thanks to the technological evolution of VR, AR, XR devices, artificial intelligence, IoT and the increasingly pervasive spread of digital services. It is a frontier imagined as an environment capable of uniting the physical and digital worlds in a technological (and cultural) convergence that can guarantee full interoperability between different platforms and devices. In this paper, we want to try to investigate the critical aspects of such an ecosystem which, beyond the enthusiasm of the pioneers, already presents a number of risks that could turn this promised land into a real hell. The dangers linked to the art world and NFT, the enormous amount of data in the hands of an oligarchy composed of the tech giants, the possible addictions, social tensions and forms of control that already animate the current digital world, could, in fact, have an enormous impact on society as a whole. An analysis of this media ecosystem, of the imaginary connected to it, of its history and of the logics that animate it, can help us face the risks and better govern our unbridled race towards this new frontier.

As the most recent historiography on Fascism has amply analysed, art and culture occupied an important place in the Fascist totalitarian project. Mussolini himself had a privileged relationship with writing, whether literary, poetic or journalistic. The aim of this paper is to analyse all the occurrences of ‘arte’ and ‘poesia’ (and their closest derivatives) and the contexts in which they are used throughout Benito Mussolini’s Opera omnia, in order to understand the meaning and political issues that these terms encompassed for him throughout his life and career. What emerges above all from this study is the fact that words such as ‘arte’ and ‘poesia’ are not used solely in the aesthetic sphere: Mussolini also used them to describe both his own politics and those of his opponents. During the socialist period, they were used to describe – and discredit – the discourse of his political opponents, but at the time of the Caporetto turning point, the lexical field of art was used in both a positive and metaphorical sense. On the one hand, Mussolini developed the metaphor of the political artist to define the political leader he intended to be for the Italians; on the other, he enhanced the idea of poetry as action while stripping the word of its literal meaning.

With the alternative between art in the singular and the arts in the plural, in relation to politics, two distinct tracks of interpretation within Mussolini’s thought are highlighted: that of politics as an “art” and that of the link between the various arts and political power, that is, the link between the artistic character of politics and the political character of the arts and culture in general. The two themes are intertwined: the first revolves around the nature of politics, the second refers to the civil and social vocation and function of culture and art in particular. It is also demonstrated that the ideas of politics as art and arts as politics find their point of encounter in the fact that art is for Mussolini always linked to a broader idea of craftsmanship, which defines art in a technical-instrumental and productive sense, but also in a reflective sense. In light of this fact, considerations are introduced about the concept of “organisation” in relation to both culture and politics.

Cet article vise à faire le point sur la notion d’expression et notamment sur l’élément matériel qui la caractérise a minima. Après avoir examiné la relation entre matière et forme et entre image et schématisme, nous prendrons en considération la substance visuelle telle qu’elle est mise à disposition dans les bases de données qui permettent non seulement l’analyse des collections d’images, notamment artistiques, mais aussi la production de nouvelles œuvres via des plateformes de génération d’images telles que Midjourney et Stable Diffusion.

In this detailed and personal account, Stefano Tonchi recounts the thought process behind his legendary transformation of T: The New York Times Style Magazine in 2004. An award-winning editor and journalist specializing in the intersection of art, fashion, and contemporary culture, Tonchi was uniquely positioned to create a new, boundary-pushing, and very lucrative iteration of T, by combining all of legendary newspaper’s seasonal style, design, and culture supplements into one weekly magazine. Tonchi served as Editor in Chief of T for 9 years, during which time the magazine, with a sophisticated new design; a fresh hybrid of subjects; and a new, oversized Gothic-T logo, attracted a new crop of talented photographers, featured A-list Hollywood celebrities, brought in a surplus of advertising pages; and garnered numerous industry awards. In his unique and honest voice, Tonchi takes the reader through his creative philosophy of “connecting the dots”; the vital importance of team-building; understanding a corporate culture and its values; and how and when to best spark change.

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Le Peintre de batailles d’Arturo Pérez-Reverte (2006) met en scène un duel à huis clos entre une victime qui vient demander vengeance et son involontaire bourreau, un ex-photographe de guerre, retiré dans une tour de guet de la Méditerranée pour y peindre une fresque de batailles. Entre des dialogues d’une grande intensité dramatique et des passages narratifs qui informent le lecteur sur les pensées de Faulques pendant qu’il réalise son œuvre picturale, la figure d’Olvido, la femme disparue et aimée du peintre de batailles, s’impose peu à peu comme personnage incontournable dans cet affrontement. À la fois cariatide sur laquelle repose l’architecture du récit, pythonisse qui détermine le destin de Faulques, et magicienne capable de métamorphoser la laideur sale de la guerre, Olvido occupe une place privilégiée parmi les créations féminines les plus attachantes de l’œuvre revertienne. C’est précisément à cause de ces traits marquants et inoubliables que j’ai choisi d’analyser ce portrait féminin en hommage à ma chère amie, le professeur Marie-Stéphane Bourjac, passionnée d’art et capable, elle aussi, d’illuminer un monde gris par son intelligence pétillante et son incomparable sens de l’humour.

This essay analyses the Unidad Popular project in Chile from the context of the Cold War. Through a cultural and political approach, the aim is to understand the experience of the Nueva Canción Chilena within national and world history. We will focus on the cultural discussion in those years and the artistic practices exemplified through the work of Víctor Jara and Quilapayún, who establish a connection between artistic development as well as political and social action. The conceptualization and connection between art, politics and society will be analyzed from a theoretical perspective.

The article aims to demonstrate to what extent the work Art as Experience (1934) by the American philosopher and pedagogist John Dewey, a proponent of pedagogical activism, may have contributed to Loris Malaguzzi’s thought (1920-1994) and the Reggio Emilia Approach. Starting from the idea of an aesthetic experience as a privileged means of knowledge, the comparison between the two authors continues through reflections on the relationship between art-community and art-ethics. The dialogue between these important educational approaches is proposed in order to highlight their relevance and the role they could play in today’s schools thanks to the concept of knowledge based on the senses and on doing, contributing to the sensitisation of educational action towards the social aspect of art, both as an opening towards the community, and as a reflection on the values of the human being. The dialogue between these two important educational approaches is proposed in order to highlight their relevance and the role they could play in today's schools thanks to the concept of knowledge based on the senses and on doing, contributing to the sensitisation of educational action towards the social aspect of art, both as an opening towards the community, and as a reflection on the values of the human being.

The ontology of artworks tells us that a work of art, for example, a painting, cannot be identified as either physical or mental object. By the same token, this paper argues the working of art or artistic labor cannot be identified as either physical or mental labor. However, the works and workings of art are regarded as either physical or mental in the prevailing aesthetic theory. The main reason is that classical Western metaphysics is bifurcated. However, traditional Chinese division of ontological categories is not a bifurcation but a trifurcation, which consists of dao道, xiang象, and qi器. This tripartite distinction avoids substantivism, while at the same time providing a framework that encompasses both the objective and the subjective face of the art work, by means of a dynamic exchange between the two poles. This paper shifts our perspective from classical Western metaphysics to traditional Chinese metaphysics and sets up a dialogue between Chinese and Western aesthetics. The ontological status of works and workings of art is neither physical nor mental, but the “betweenness” of the two.