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Emanuele Arielli
Istituto Universitario di Architettura (Venezia)
  1.  86
    Is Beauty in the Folk Intuition of the Beholder? Some Thoughts on Experimental Philosophy and Aesthetics.Emanuele Arielli - 2018 - Rivista di Estetica 69:21-39.
    In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and a “broad” approach of experimental philosophy, I (...)
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  2. Il problema della razionalità in psicologia.Emanuele Arielli & Paolo Legrenzi - 2008 - Nuova Civiltà Delle Macchine 26 (4).
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  3.  2
    Interpretativer Realismus: Günter Abels Zeichen- und Interpretationsphilosophie. [REVIEW]Emanuele Arielli - 2019 - Deutsche Zeitschrift für Philosophie 67 (6):1049-1057.
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  4.  9
    Sperimentazioni estetiche: sound art e concezioni dell’ascolto sonoro.Emanuele Arielli & Roberta Busechian - 2017 - Rivista di Estetica 66:47-60.
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  5.  20
    The Anxieties of Control and the Aesthetics of Failure.Emanuele Arielli - 2021 - Studi di Estetica 19 (1).
    For many contemporary artists, failure has been an instrument of experimentation and self-expression, of investigation into existential questions and manifestation of utopian tensions. In this paper, I will discuss how some of the well-known strategies of experimental and avant-garde artistic practices with failure involve risky actions, challenging or impossible attempts, loss of control, and compulsive repetition of inconclusive acts. In those experimentations, the ideal model of an effective and successful action performance (in which a goal is defined through a clear (...)
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  6.  83
    Taste and the Algorithm.Emanuele Arielli - 2018 - Studi di Estetica 12 (3):77-97.
    Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are (...)
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