While many scholars have decried the erasure of the body in virtual reality (VR), this paper focuses on the body – and the physical reality for which it stands – as a critical component of any experience of virtual reality. Specifically, studying VR from the perspective of the physical body allows for a more nuanced appreciation of the unique reality of this «virtual» reality. Moreover, this paper argues that the body should not be seen as a distraction from the immersive (...) potential of VR, but rather as a potential tool for augmenting what virtual reality can currently offer. (shrink)

The growing critical and economic success of Virtual Reality technologies is generating renewed scholarly interest in virtual environments. One of the most long-lasting and influential perspectives on the topic has been labelled «virtual realism» (Heim [1998]), and it has passed throughout the entire history of virtual environments studies up to recent days (Chalmers [2022]). Virtual Realism frames virtual environments in terms of realism, and precisely of perceptive soundness and isomorphism between physical environments and virtual ones, producing a convincing illusion of (...) being physically present in the digital space. This article develops a critical counter-argument to this account. By employing James J. Gibson’s ecology of perception and Deleuze’s and Lévy’s philosophy of the virtual, the article aims at demonstrating that the ontology of virtual environments is rooted in a domain of predetermined possibilities, and that the resulting aesthetics can not be fully immersive. Instead, the latter should embrace the «emersive» and anti-realistic qualities of the medium as an expressive device. (shrink)

Drawing could be considered the oldest known art form. However, art and its understanding has come to evolve so much that it has derived a multitude of forms that are almost unclassifiable today. The aesthetic discourses of the public, social and political have also been prejudiced and their true essence has been altered. In the present research work, we explore a series of artists who work with art as a language and tool for change and improvement of public life in (...) general. We analyse the messages they address, the aesthetics and material form they use, the methodologies they practice or the social changes they cause. In this regard, through a selection of contemporary projects, we can identify more effective representative artistic characteristics that are consistent with our current world. In conclusion, we emphasize that the practice of public art is more significant and necessary than it seems. (shrink)

In this essay, some theoretical semiotic issues concerning immersive technologies are presented and discussed. In particular, the somatic and corporeal dimensions of the construction of the user-visual hybrid, the problematic of point of view and realism, and the narrativity inscribed in immersive technologies will be discussed. The objective is twofold: tracing the semiotic perspective on the real/virtual relationship and questioning certain rhetoric of immersivity that underlies precise ideologies circulating in the contemporary imagery.

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order (...) to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

Nowadays virtual reality has gained extreme popularity among adolescents around the world, thanks to the possibility they offer to create a new life for their users. Especially for teenagers affected by the hikikomori syndrome, who experience struggles in establishing communication with others, virtual reality has become a tool to forsake their “adverse” reality, shaping fictitious safe environments and creating relationships with similar-minded users. This issue of virtual reality has been depicted in recent Japanese animation, whose country is mostly affected by (...) this issue. I will show mainly two approaches to the phenomenon: the one given in the anime series Sword Art Online (2012), in which virtual reality is perceived as the only place where true communication can happen; the second is the interpretation given by director Hosoda Mamoru in his animated features Summer Wars (2009) and Belle (2021), where virtual reality is a tool to support real life’s difficulties. (shrink)

In this paper we aim to find a definition of virtual which fits the latest developments of digital technology, but also applies to the analog world. We consider the virtual as related to immanence, taking inspiration from Deleuze’s reading of Bergson and Merleau-Ponty’s last work. We first analyze Deleuze’s idea of immanence, from which virtuality emerges, then we focus on Merleau-Ponty’s concept of flesh and its virtual center. We argue that both philosophers see immanence as a dynamic medium of virtuality, (...) overcoming the traditional concept of substance and theorizing a deep intertwining of bodies and technology. Our analysis shows that the virtual is defined by the following features: it implies an epistemological and ontological monism, relationality, and entanglement with reality. The virtual clearly emerges in digital technologies, but also belongs to analog reality, as a general condition for our knowing and being in the world as such. (shrink)

This paper examines the theoretical and practical aspects of geodesic dome architecture in North America as part of an aesthetic of virtualization. Geodesic domes can be conceived of as virtual environments designed as alternatives to the contemporary world and its internal crises. They were originally a tool of the American counterculture of the 1960s to search for futuristic housing solutions which responded to ecological concerns. The contribution traces some of the most important phases of dome architecture, which crossed paths with (...) the emerging technoculture linked to the rise of virtual reality. Indeed, the idea of the dome as a means of imagining new virtual environments, as was the case of Biosphere 2, intersects with the career of VR pioneer Jaron Lanier. Today, virtual reality technologies have merged geodesic architecture with visualization devices, as happens in the case of “virtual domes”, offering a unique way to experience virtual reality and connect with others in a shared environment. (shrink)

We use phenomenology to reflect on the experience of being with others as mediated by screens through videoconferencing platforms, a phenomenon accelerated by the Covid-19 pandemic and social isolation measures. We explore two directions to explain the intersubjective experience of a videoconference. One direction introduces a conceptual background based on previous contributions in phenomenology, while the other one is more speculative: we introduce the novel idea of a phantom other. First, we understand this phenomenon either as a correlate of image (...) consciousness or as a paradoxical perception. Then, we introduce the phantom other using ideas offered in phenomenological descriptions in which the phantom limb appears as a quasi-presence. The phantom other is the same flesh and blood body with whom I co-constitute senses of the world. In a videoconference, the other appears as a whole body with which I coordinate, although she appears as a phantom other. (shrink)

The number of elderly influencers on Instagram is increasing. When analyzing a sample of corresponding posts, it is noticeable that fashion, especially fancy or vintage fashion, plays a central role. By choosing extraordinary looks, elderly influencers, whose age is by no means concealed, communicate self-determination and independence from the opinions of others – both also in connection with life experience. Their followers consider them as cool and empowering: this way, they can positively influence society’s perception of elderly people, take away (...) younger recipients’ fear of aging, and act as role models. However, a noticeable divide emerges, as the elderly influencers are apparently well-educated and presumably also wealthy and enjoy good health. In social comparison, many of those of the same age would probably perform poorly. Therefore, it can be concluded that elderly influencer may be beneficial to their recipients and to society as a whole, but that addressing the social conditions that enable old people to live a fulfilled life is largely ignored. (shrink)

Gilles Deleuze has become a key reference for the recent debate on virtual technologies, as his conception of the virtual is widely used to argue for the reality of virtuality. Nonetheless some scholars, among which Slavoj Žižek stands out, have warned about the risks of flattening the Deleuzian concept on the tech debate. This paper aims to show why the two concepts of the virtual do not overlap by explaining some features of the Deleuzian virtual that make it incompatible with (...) virtual media. Namely, its intensive dimension, its relationship with the possible and its imperceptible nature. The paper will also claim how differentiating the two concepts opens up wider applications for the Deleuzian virtual while, at the same time, lightening the tech debate of its ontological burden, allowing to approach the issues of virtual technologies from a more fruitful perspective – that is to say, their pictorial functioning. (shrink)

One of the prestige of young people’s identity today is through fashion. Fashion has even become a “religion” that binds the identity of the individual who wears it. The Sneaker, a form of fashion, also has a big role; even now, it has become a commodity and prestige with a fetish nuance. Therefore, this study aims to identify how the sneaker fetish becomes a space for simulating the lives of young people in Indonesia. Furthermore, this study also examines the problem (...) of the representation of youth-lifestyle simulations in Indonesia. This research uses a qualitative case study approach to play on Jean Baudrillard’s approach to simulacra and hyperreality, which also discusses David Chaney’s approach to fashion. Data collection was obtained from audience studies by examining tagging on social media, Instagram, from July 2022 to October 2022. The results of the study show that the sneaker trend does not only act as a complement to appearances, more than that, but it can also display the personal identity of the wearer. A sneaker community also facilitates the lifestyle of young people towards sneakers. Finally, the community shifted the concept of young people towards sneaker consumption to be more consumptive than before. On the other hand, young people do not realize that what they have done is a hyperreality that tries to identify itself with the best possible image and continues to shape it through massive consumption activities. This is where the sneaker concept shifts from a “community” to a “commodity”. (shrink)

The purpose of the paper is to show how the reading of Kafka’s Prometheus offered by Hans Blumenberg in Arbeit am Mythos authorizes a re-understanding of this short story as a device within which the meta-representative moment and the questioning moment are configured as two indissolubly linked aspects. In this perspective, starting from the recognition of the key role played by the mechanism of irony in the construction of the Kafkaesque short story, the article aims to highlight the three different (...) levels of articulation of such a mechanism, with particular reference to its ability to exhibit – at the same time – the transcendibility of the datum and the need to think the sense as «infinite deferral». (shrink)

Hans Blumenberg wrote, in an unpublished manuscript entitled Ein Betrug? / Der böse Dämon (UNF 532-534), that «the whole world and human intelligence were hidden beneath the earth, where the relics of the precursors of life rest». The German philosopher was not a palaeoanthropologist in the strict sense but dedicated much of his life to excavating in the ground, in search of replies to the great questions about the human condition. This paper is the result of a work compiling and (...) classifying a series of unpublished texts about palaeoanthropology to be found dotted throughout his Nachlaß. The aim is to show the interest that disciplines such as palaeoanthropology aroused in the German thinker, and that his understanding of the matter, reflected in part in his anthropological-philosophical theses, has not yet been systematised. (shrink)

Étienne Souriau was a refined and demanding thinker, with an aristocratic demeanour, far removed from the currents of ideas dominant in his time. A difficult and erudite author, out of tune with the times he lived in, he would seem the least likely candidate to appeal to a hurried and globalised public like that of the twenty-first century. A sophisticated representative of a rationalist positivism, no stranger to the Husserlian canon and not even insensitive to the motivations dear to the (...) gnoseological debate of Cartesian and Kantian matrix (as well as to the major themes of classical metaphysics), Souriau pursues the ideal of a constructive philosophy, capable of understanding – and at the same time favouring – the advancement of the creative process conceived as a set of poetic acts and progressive dynamic operations. In his texts, Souriau is attentive to grasping the correspondences, exchanges and reciprocal transitions between one mode of existence and another, as well as the resonances between the various art forms in the different fields of knowledge, testing an original method that is epistemologically very fruitful. The aim of this monographic issue of Aisthesis dedicated to Étienne Souriau is to explore his thought in its multiple aspects, in order to measure its topicality in relation to the themes and problems that characterise contemporary philosophical debate, with particular reference to aesthetics and ontology as well as to the dense network of connections between the two fields. One of the most interesting characteristics of Souriau’s thought that has stood the test of time would appear to be its multifacetedness: the quality of lending itself to being applied even to spheres that are apparently very distant from reflection on art, such as cultural anthropology, political philosophy or morality. It seemed to us that it largely owes its relevance precisely to the intersections between one field of knowledge and another. The issue contains twelve contributions on Souriau that explore his main aspects in depth. They range from analyses devoted to the architecture of Souriau’s thought (his general philosophy) in the essays by Dominique Chateau and Filippo Domenicali, which can furnish a useful overall picture of the man, to essays that attempt to focus on the more properly ontological core of this thought, such as those devoted to the arabesque motif (Luigi Azzariti-Fumaroli), the theory of the soul (Sjoerd Van Tuinen) or the multiplicity of worlds (Noëlie Plé). Interspersed between these are contributions that focus more on the comparison between Étienne Souriau’s thought and the philosophers of his time, such as Dufrenne (Maryvonne Saison), or with well-known later philosophers who explicitly referred to him, prolonging his creative impetus, such as Gilles Deleuze (Casey Boyle) and Bruno Latour (Aline Wiame), the true architect of the current Souriau “comeback”. Finally, in addition to essays of a more theoretical nature, there are contributions that attempt to re-evaluate certain aspects of Souriau’s aesthetics, such as the fruitfulness of the cues that can come from his thought for the debate on animal aesthetics (Maddalena Mazzocut-Mis and Andrea Scanziani), or the possible topicality of his theory of forms (Isabelle Rieusset-Lemarie). In the “Miscellaneous” section, this issue hosts a number of studies that aim to explore the aesthetic implications of new technologies, the themes of ecological aesthetics, as well as to offer an unusual profile of Baumgarten. (shrink)

When we are present in a space we have been to before, we remember our experiences or events, people, and things related to that space. However, we can remember a space we have not been to and experiences that do not belong to us. We can have memories of them through transferential spaces created by mediums such as images, films, television, or virtual reality. These virtual spaces enable the transfer of experiences and memories. This study focuses on the relationship between (...) experiences in virtual spaces and memory. It problematizes the change in the quality of experiences in physical and virtual spaces and the memories gained from these experiences. Film and virtual reality mediums are chosen to analyze the changes. The study reveals that depending on the types of mediums, characteristic transformations occur in memories obtained from experiences in virtual spaces. (shrink)

At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in the Anglo-Saxon tradition. In such context, this paper intends to give an overview of the philosophical contributions on the subject made so far, and provide some guidelines for its study in the field of aesthetics. After reconstructing the debate, starting from Theodor W. (...) Adorno’s thoughts on mass music as prolegomena and arriving at the so-called “ontologies of rock”, this article takes an aesthetic point of view concerning the specificity of pop-rock and argues that the decisive aspect of the genre in the choir of popular musical expressions lies in the unique role of technology applied in its production. (shrink)

Whether viewed as unduly complex or necessarily ornate, Étienne Souriau’s written style accents the importance of placing artistic form in conversation with intellectual content. In seeking to better understand Souriau’s advocacy for a philosophy of instauration – the process through which an existence gains in existential formality – this essay examines how aesthetic tropes and devices order ontological meaning. First, it links Barbara Cassin’s case for sophistical practice to Souriau’s advocation for ontological multiplicity. The essay then reads the 1956 essay (...) “Of the Mode of Existence of the Work To-Be-Made” and Souriau’s adjacent work as consciously rhetorical and profoundly aesthetic attempts to recruit others to his philosophical commitments. This account further discerns an array of rhetorical devices (e.g. chiasmus) in Souriau’s work that function not merely to adorn description but rather to order an experience of the work-to-be-made. Attending to turns of language as contributing to reality necessarily raises questions of responsibility, so the essay’s then reconsiders philosophy’s long-standing charge of sophistic irresponsibility alongside Souriau’s skewing of agency and choice through instauration. The essay concludes by considering the implications of Souriau’s central concepts as filtered through sophistical practice as not incidental to philosophical aesthetics but a charge to philosophy to be responsible for promoting lesser existences in and across multiple modes. (shrink)

In addition to being a great aesthetician who established the teaching and research of aesthetics in France, Étienne Souriau is an important philosopher, notably for his contribution to ontology. His aesthetics and his ontology are closely entangled. The purpose of this article is to study the relationship between these two rings, in this case inseparable, but distinct, of philosophy. We will use a comparison with the phenomenology of Charles Peirce, relevant insofar as, by different ways, art for the first one, (...) semiotics for the second one, the two philosophers participate in a theory of the representation. (shrink)

L’Instauration philosophique (1939) is one of the most relevant philosophical works by Étienne Souriau. In this book, the French philosopher tries to outline the main laws which define the instauration of a philosophical theory, in order to construct a philosophy of philosophies. Pleroma is one of the key-concepts of this work, and it refers to the dimension that includes all the well-established philosophical perspectives. The aim of this paper is to reconstruct some issues connected to this work, regarding specifically the (...) notion of pleroma. The paper underlines the connection between L’instauration philosophique and the philosophical milieu in which it was written, and then stresses the relevance of artworks and aesthetics for Souriau’s idea of instauration. The paper deals with the architecture of pleroma, and finally examines some similarities and some differences between the pleroma and Leibniz’s Monadology. (shrink)

«What does art mean in a world where urgency predominates, a world that now exhausts its annual quota of renewable resources in July?» (Bourriaud [2021]: 7; my translation). The climate crisis (which began in the last century, but whose consequences have become increasingly worrying in recent years), the Covid 19 pandemic that struck the planet in 2020 and the recent conflict between Russia and Ukraine in the heart of Europe are epoch-making phenomena that are inevitably reshaping the present and future (...) of human societies. With respect to this situation, is art being called into question or, on the contrary, is it an essential tool for rethinking the world of tomorrow? More specifically, is public art today a lost cause or an opportunity? In this article, I will try to place these questions within the framework of what we might call eco-aesthetics, which has an essential connection to the category of “relations”. (shrink)

Taking the arabesque as referent, the article proposes to investigate its meaning in its various meanings, starting with the musical and then continuing with the artistic and literary, in order to highlight how, especially in the literary sphere, Souriau proposes, through this figure, to examine the conditions of possibility of the interweaving of phonetic, semantic and morphological inventions that sustantiate language, but that nevertheless can never reach the threshold of saying. And which indeed seems to testify to how there is (...) always something that remains hidden in language: an intuitive presence, an image that arrives suddenly. (shrink)

Each Site Specific is always and above all Time Specific, that is marked by Time and by the times from which it is generated, defined and set in a place. Space is a significant environment a work that works in the Work that re-means, in its transformation, the very connotations of performing action. To contain the never-ending process of meaning to which such a work would be subjected, it will be Time: that granitic categorial essence that philosophy, together with Space, (...) indicates as fundamental for any cognitive and speculative exercise. Moreover such an artifact, incorporating History and stories, re-reads – making them readable – living testimonies that animate the place of existence of subjects and objects that last the relative time of their existence, in an attempt to make them and itself eternal. As if the work could take charge of the task of triggering the memorative (making memory) device of the Real, a mysterious aesthetic mechanism that interfaces subjects and objects in the common project to adapt, know and make the world – which is more than the Real, imbued as it is of significant connections and correlations. The object work of art in its positioning (making room) in a place, invites the subject –through an imaginative pact – to signify the world through a simulation of sight that allows Man to pre-see his own possibility of existence before the unknown the real proposes him, responding to his personal S.o.S. he sends daily, threatened by the indecipherable fear of sinking in the unknown. (shrink)

The work defines three aspects of Souriau’s animal aesthetics by stressing their relevance in the context of early and contemporary ethology: in (1), the concept «biological nature» which is interpreted by Souriau as a realm of appearances and as intrinsically aesthetic; in (2), the concept of animal sensibility, which makes it possible to reframe animals’ artistic behaviours and the sense by which such phenomena establish a meaningful relationship with the environment; in (3), the concept of form, in the description of (...) natural appearances, is presented as it enters into the process of institution that, accordingly to Souriau’s interpretation of biological nature, encompasses non-human animals and humans. All three definitions will allow us a), to present Souriau’s critique of anthropomorphism and his proposal of an «healthy» zoomorphism; b) to reformulate animals’ sensibility in a non-reductionistic fashion; and finally, c) to address the issue with the supposedly sole communicative function of animal artistic behaviors. (shrink)

In the face of the most recent developments in digital and visual art, the Internet, the latest frontiers and currents, the new languages and technologies, Souriau’s schema does not work, but his reflections on the aesthetic notions of instauration and skeuopoetics do, and they pertain both to classical painting and to future perspectives. In fact, we note strong connections with research that the philosopher had had conducted on feelings, relations, forms, and processes, in terms of synaesthesia and structural correspondences. On (...) the basis of his thinking, we can still argue the importance of these concepts and these relations as they relate to physical and phenomenal existence, to materiality and transcendence: a conceptual and imaginative universal that is considered to be eternal. Art is seen as the producer of things capable of performing actions that are purely physical. He makes this claim because these actions expressly and intentionally create things whose existence is their sole purpose. (shrink)

In this paper, I intend to analyze Baumgarten’s position about the dietetic care of the body in its relation to nascent aesthetics, with special regard to the problem of physical exercise. On the one hand, I will show that physical exercise can acquire aesthetic value with the example of the somatic fine arts. On the other hand, I will demonstrate that dietetics is also seminal for the emergence of every act of beautiful thinking. Eventually, I will bring to the fore (...) the dietetic potential of beauty itself. In this way, it will be possible to better appraise the constitutive link between health and beauty in the founding of aesthetics as an independent branch of philosophy. (shrink)

By focusing on the shifts brought about by the formulation of different modes of existence, this article explores the gesture posed by Etienne Souriau’s philosophy. Starting from questions such as: What does it change for the multitude of existences to be named in this way? What difference does it make? The question here will be to address the necessity of such a pluralist ontology with regard to our contemporaneity. The challenge is to understand the necessity of such a formula, to (...) draw the problematic threads that allow us to situate this necessity in a larger set of questions, or rather, ways of asking them. (shrink)

According to Etienne Souriau, ontology must be grasped in light of an ontogonic perspective in which future is to be rebuilt permanently as an act. We show that “constant forms” support Souriau’s aim that ontogony must be both ubiquitous and pragmatic. Firstly, the “constant forms” support Souriau’s ubiquitous ontogony which aims to escape the reification due to the “law of localization”. Secondly, as far as they are considered as “action template”, the “constant forms” support Souriau’s pragmatic ontogony according to which (...) “existence is an act”. Thirdly, Souriau characterizes as “constant forms” the morphems on which is based his synaptic vision (as opposed to the ontic vision) which values the dynamical role of transitions in order to create a future as an act, as it is required by the criteria of pragmatic ontogony. (shrink)

En 1961, un article de Souriau relevant une difficulté signalée en 1953 par Dufrenne porte sur la juste part à accorder à la contemplation dans la relation à l’art. La zone d’ombre concernant la relation humaine et intellectuelle entre les deux hommes fera l’objet d’un premier examen. L’hypothèse souralienne d’une transmutation de conceptions théologiques dans le domaine de l’art sera ensuite examinée par rapport à Dufrenne sans évacuer la question de sa pertinence par rapport aux études phénoménologiques ultérieures. La question (...) de la relation à l’art, telle que Souriau l’envisage ressurgira dans sa pleine actualité jusque dans le face à face avec les œuvres. (shrink)

This paper is an attempt to examine critical ways of displacing the meaning of journey – as minor rhythms and motions of everyday life. The everyday and its cyclical nature embedded in a productive life within the capitalist social regime is seen as an unexotic site of quotidian struggle. It warrants our attention only when the body asserts its presence at the site of rebellion or resistance. This is frequently reported as an exception to the given norm. The concrete reality (...) of our given material conditions is always fermenting and churning towards the “not yet”. Patterns of the everyday are seen as an extraordinary event or rupture only when the body rebels. My contention is that this journey of the body-politic is not embedded in a certain moment of its arrival or departure, from point A to B, but marked by dynamic, shifting vectors that are capable of a “leap”. In, against and beyond the spectre of capital, this paper will try to outline and discuss these minor perforations in time through the Shaheen Bagh protests and the migrant exodus during the pandemic in India. (shrink)

The body is at the heart of critical and phenomenological concerns, yet it is the soul that is increasingly under pressure. As we are being stripped of our structures of commonality, we need a renewed concept of political spirituality. My aim is to enrich Simondon’s concept of spirituality as transindividuality through Souriau’s transmodal architectonics. My argument proceeds in two steps: (i) I emphasize the precarious and communal modality of «having a soul», defining it as a possession without ownership and demonstrating (...) its inseparability from the problems of intensive variation and discontinuity. (ii) I then argue that Souriau is inspired by Leibniz’s disjunction between the ontic soul and the relational body, which holds the key to an account of spiritual commitment that exceeds the union of corporeal and psychical existences insofar as it invents a new common use for them. (shrink)

This article examines the particular way Souriau’s concepts of instauration and modes of existence have been inherited by Bruno Latour in his Inquiry into Modes of Existence. It suggests that Bruno Latour has hacked some key-aspects of Souriau’s general ontology in order to regionalize it and, by doing so, to give the Moderns an accurate depiction of the plurality of beings they hold dear. It then shows how Souriau’s concept of instauration is crucial to Latour’s project of rethinking and repopulating (...) modern institutions, in a gesture aimed at making metaphysics a vital practice that has the power to make the world worth of worrying and caring for. (shrink)