This project has received funding from the European
Research Council (ERC) under the European Union’s Horizon
2020 research and innovation programme.
Grant agreement No. 834033 AN-ICON.

Seminars

2021

Interactivity

Interactivity has long been investigated in different fields and in relation to different research objects. The advent of digital media, though, has made the concept of interactivity even more pervasive. Since their first appearance, indeed, digital media have been defined as “interactive”, in contrast to analog apparatuses.  

With the advent of virtual and augmented reality, interactivity has conquered yet another field of application. In fact, many properties of VR- or AR-based environments may be explored by using the notion of “interactivity”: their ability to offer lifelike sensorimotor affordances; their possibility to involve the users in participatory creative processes; and their tendency to include interactions with quasi-subjects known as “avatars”. 

The concept of interactivity, however, is as pervasive as ambiguous. Some scholars have claimed that interactivity is too broad a concept to account for the specificity of digital or virtual interfaces. Thus, more circumscribed definitions of interactivity may be needed. At the same time, the complexity of the debate surrounding interactivity in its pre-digital and pre-virtual forms remains fruitful, and thus it should be rather critically reassessed than simply put aside. 

This Seminar proposes to tackle these and many other connected challenges, with the final aim of illuminating the many different facets of the notion of “interactivity” as it applies to VR- and AR- environments, and to “an-icons” more broadly. 

2021

Zoom In. Simposi con l'autore

“Zoom” is one of the most commonly used words of 2020. In addition to being the name of a successful video-conferencing platform, “zoom” also means pointing the lens at something to magnify it and see it more closely. This is the goal of the cycle of book presentations promoted by the ERC Advanced project “An-Iconology. History, Theory, and Practices of Environmental Images ”, inviting authors and editors of recent books and volumes to gather around a virtual aperitif.

2019/2020

Illusion

When dealing with environments that simulate reality, illusion is one of the first concepts that must be tackled. Yet how is illusion to be interpreted? Is it an unconscious deception accomplished through a false perception, or is it rather a lusory attitude adopted in a peculiar kind of make-believe relation? What is the difference between illusion, deception, and hallucination? How does illusion turn into deception? How does deception become illusion?

Despite it has been traditionally given a negative value, the word “illusion” is currently accorded a more and more positive meaning as one of the most important objectives of the creators and experiencers of an-icons. Should we speak of emulation when, for instance, psychiatrists treat veterans and depressed elders by plunging them in alternative worlds? Is simulation the aim of political communicators who manipulate images supposed to represent reality? What are the challenges raised by so-called deepfakes? Is a perfect environmental illusion also the ultimate objective of videogame designers?

The effect of illusion presupposes techniques that negate or dissimulate the mediateness of the image, making transparent the threshold between reality and image. The deriving “environmental” images presuppose the interaction with the observers; but is interactivity necessary to obtain an illusion effect? Does the multisensory quality of the interaction affect the overall illusion effect? And, since environmental images are frequently inhabited by the users’ proxies: do avatars in their vast phenomenology enhance the illusion, or rather do they diminish the resulting effect? What is the relation between illusion and the style of the image? Is hyper-realism a necessary element of illusion, simulation, and immersivity?

2018/2019

Avatar

Recent evolutions in the contemporary iconoscape have enabled the production of pictures that elicit in the perceiver a strong feeling of being there”, namely of being incorporated into new and autonomous environments. Subjects relating to such environments are no longer visual observers in front of images isolated from the real world by a framing device; they are experiencers living in quasi-worlds that offer multisensory stimuli and allow interactive sensorimotor affordances.

In relation to such quasi-worlds, a key role is played by the avatar, a digital proxy through which subjects interact with synthetic objects or other avatars. Rooted in the ancient Hinduist tradition and often associated in the Western culture with notions such as the double and the Doppelgänger, the term avatar mostly owes its fortune today to its massive employment in digital communication (e.g. video games, chat-rooms, social networks, virtual environments). The crucial feature of the avatar experience is the possibility to interact with the digital system and to be recognized by it, thus enhancing a two-way movement from the real world into the virtual ones and vice versa.

2016/2017

Immersion

The traditional notion of the “threshold” between images and reality found paradigmatic expression in the myth of Narcissus. According to a version of the story, the Greek youth, being unable to distinguish between his own body and its reflection in the water, drowned while trying to reach it, literally immersing himself into his own image.

Over the very last decades, Narcissus’s legend has unpredictably become fact thanks to the technological advancements which make it possible to create pictures indistinguishable from actual reality. What was formerly an exceptional violation of the borders (elements of the picture stepping out of the frame or of the screen, or vice versa elements of reality entering the image) is now the rule. Just think, for instance, of the stunning enhancements in computer graphics and animation techniques, in the creation of immersive environments, or even in the development of humanoid robots which are becoming more and more able to naturally interact with people thanks to the progress in artificial intelligence. In a near future, the widespread diffusion of virtual reality headsets such as Oculus Rift will radicalize the paradox of an extremely mediated experience promoting a belief of immediate presence.

The seminar aims at investigating this phenomenon through a cross-disciplinary approach blending aesthetics, history of art, anthropology, cognitive science, theories of new media, as well as cinema and game studies. Attention will be paid to both the historical-genealogical sources of the concept of immersion in ancient and modern culture and the new horizons opened by the most recent technological developments.

2015/2016

Thresholds

La nozione di soglia è da intendersi in modo molto ampio, così da comprendere diverse prospettive e da aprire vari campi di indagine. Soglie tra rappresentazione, produttore e fruitore; ma anche soglie fra immagine e realtà; soglie fra diversi media e diverse discipline; soglie di visibilità… e molte altre che speriamo di indagare nel corso del seminario.

Event

Department of Philosophy, Sala Seminari

Seminar of Philosophy

Illusione estetica. Archeologia di un concetto

Pietro Conte Università Ca’ Foscari di Venezia

Event

Department of Philosophy, Sala Seminari

Seminar of Philosophy of Image

Reflections and Images

Clotilde Calabi Università degli Studi di Milano

Transportation, Lucid Hallucination, and Immersivity

Alberto Voltolini Università di Torino

Event

Department of Philosophy, Sala Seminari

Seminar of Philosophy of Image

Event

Department of Philosophy, Sala Seminari

Seminar of Philosophy of Image

Event

Department of Philosophy, Sala Seminari

Seminar of Philosophy of Image

Event

Department of Philosophy, Sala Seminari

Seminar of Philosophy of Image

Enea LeFons Whitelabel Foundation

Event

Virtual meeting (Zoom)

Seminar of Philosophy of Image

Event

Department of Philosophy, Sala Seminari

Seminar of Philosophy of Image

Event

Virtual meeting (Zoom)

Seminar of Philosophy of Image

Affective foundations of aesthetic Illusion

Christiane Voss Bauhaus University Weimar

Event

Virtual meeting (Zoom)

Seminar of Philosophy of Image

The Space of Illusion, from Phantasmagoria to Zoom

Francesco Casetti Yale University

Event

Virtual meeting (Zoom)

Seminar of Philosophy

Event

Virtual meeting (Zoom)

Seminar of Philosophy of Image

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Event

Virtuality Reality Continuum Beyond Design

Tilanka Chandrasekera Oklahoma State University

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Event

Can ‘interactiviy’ be saved? A terminological triage.

Espen Aarseth University of Copenhagen

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Event

Cognition as Interaction. Autopoiesis, Media, Networks

Francesco Parisi University of Messina

Event

Design of multisensory experiences in VR/AR

Marina Carulli and Monica Bordegoni School of Design of Politecnico di Milano

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Cultura visuale (Cortina 2020)

Michele Cometa University of Palermo

Event

Embodied simulation and experimental aesthetics

Vittorio Gallese University of Parma and Columbia University

Does matter matter? The iconicity of an-icons.

David Freedberg Pierre Matisse Professor of the History of Art and Director of The Italian Academy for Advanced Studies in America

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Social Appearances. A Philosophy of Display and Prestige (Columbia University Press 2020)

Barbara Carnevali École des Hautes Études en Sciences Sociales of Paris

Event

Event

Scaffolding the Interactive Imagination: Strategies for Designing the Complex Cognitive Spaces of Digital Storytelling

Janet Murray IAC Associate Dean for Research and Ivan Allen College Dean's Professor in the School of Literature, Media, and Communication, as well as Director of the Digital Integrative Liberal Arts Center

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

Teatro contemporaneo. 1989-2019 (Carocci 2020)

Valentina Valentini La Sapienza University of Rome

Event

Event

12° Atelier virtual space
and
Casa degli Artisti, Milan
1 June – 10 June 2021

Event

Virtual meeting (Zoom)

Zoom In. Simposi con l'autore

La tirannia delle emozioni (il Mulino 2020)

Paolo D’Angelo Roma Tre University

Event

Aula Crociera Alta (room capacity 55)

Università degli Studi di Milano

Via Festa del Perdono 7, Milano

Event

MORNING:
Off-campus at Casa degli Artisti
Corso Garibaldi 89/A, Milano (room capacity 25)

AFTERNOON:
Aula Crociera Alta (room capacity 55)
Università degli Studi di Milano
Via Festa del Perdono 7, Milano

Event

Virtual meeting (Zoom).
To receive the link to the meeting, please write an email to an-icon@unimi.it

Zoom In. Simposi con l'autore

Event

Virtual meeting (Zoom).
To receive the link to the meeting, please write an email to an-icon@unimi.it

Zoom In. Simposi con l'autore

Event

Virtual meeting (Zoom).
To receive the link to the meeting, please write an email to an-icon@unimi.it

Zoom In. Simposi con l'autore

Event

Virtual meeting (Zoom).
To receive the link to the meeting, please write an email to an-icon@unimi.it

Zoom In. Simposi con l'autore

Publications

A. Pinotti, “Der Schnabel des Adlers und die Nase des Menschen. Können wir uns in einen Vogel einfühlen?,” in V. Borsò, S. Borvitz, L. Viglialoro (ed.), Physiognomien des Lebens. Physiognomik im Spannungsverhältnis zwischen Biopolitik und Ästhetik (De Gruyter, 2020): 71-90.

A. Pinotti, “Autopsia in 360°. Il rigor mortis dell’empatia nel fuori-cornice del virtuale,” Fata Morgana, no. 39 (2020)

A. Pinotti, “Towards an-iconology: the image as environment”, Screen

F. Cavaletti, A. Pinotti, “An-icons,” in S. Arcagni, Immersi nel futuro. La Realtà virtuale, nuova frontiera del cinema e della TV (UniPaPress, 2020): 141-145.

A. Pinotti, “What Is It Like to Be a Hawk? Inter-specific Empathy in the Age of Immersive Virtual Environments,” in Y. Hadjinicolaou (ed.), Visual Engagements. Image Practices and Falconry (De Gruyter, 2020): 30-47.

A. Pinotti, “Dal fuori-cornice al fuori-schermo. La sfida degli ambienti immersive e l’an-icologia”, in M. Carbone, A.C. Dalmasso, J. Bodini (ed.), I poteri degli schermi. Contributi italiani a un dibattito internazionale. (Mimesis, 2020): 135-146.

F. Casetti, A. Pinotti, “Post-cinema Ecology”, in D. Chateau and J. Moure (ed.), Post-cinema Cinema in the Post-art Era. (Amsterdam University Press, 2020): 193 – 219.

E. Modena, A. Pinotti, “Humanitarian VR as 360° Autopsy: Empathy and Sympathy in Immersive Storytelling”, in KODEX 10 (2020): Im digitalen Jenseits der Literatur. (Harrassowitz Verlag, 2020): 145 – 162.

Immagini nel campo espanso “L’an-iconologia secondo Andrea Pinotti.” Intervista ad Andrea Pinotti realizzata da Giacomo Mercuriali, pubblicato in Kabul Magazine, 3 luglio 2020

“Benvenuti nel 12° Atelier. L’arte fonde reale e virtuale” Articolo di Vincenzo Trione, pubblicato in La Lettura del Corriere della Sera, 28 giugno 2020

Members

Andrea Pinotti

Principal Investigator - Full Professor of Aesthetics

Andrea Pinotti (PhD in Philosophy 1998) is Full Professor of Aesthetics at the Department of Philosophy “Piero Martinetti” of the State University of Milan, where he teaches Aesthetics and Representation and Image Theories. He is the coordinator of the Doctoral Course in Philosophy and Human Sciences. He has been fellow at the Italian Academy for Advanced Studies in America at Columbia University, New York (2003-04); Directeur d’études associé at the École des hautes études en sciences sociales, Paris (2008); Fritz Saxl Senior fellow at the Warburg Institute, University of London (2010); professeur invité at the Université Jean-Moulin, Lyon 3 (2011); Gastwissenschaftler at the ZfL in Berlin (2012); directeur d’études associé at the FMSH in Paris (2015); Eurias-Marie-Curie Senior fellow at the IEA in Paris (2017-18) . He has been Directeur de Programme at the CIPH (Collège International de Philosophie) in Paris on the programme Monument Nonument. Politique de l’image mémorielle, esthétique de la mémoire matérielle. In 2018 he has been awarded the Wissenschaftspreis der Aby-Warburg-Stiftung.


Alfio Ferrara

Full Professor of Computer Science

Alfio Ferrara (PhD in Computer Science 2005) is Full Professor of Computer Science at the Department of Computer Science ‘Giovanni Degli Antoni’ of the University of Milan, where he teaches database, information retrieval and text mining. He is the coordinator of the Data Science Research Center of the University of Milan. He participates in the activities of the research group “Information Systems and Knowledge Management” (ISLab), with co-direction responsibility since 2011, and coordinates the Instance Matching track in the international research group of OAEI (Ontology Alignment Evaluation Initiative) of which he is member of the steering committee. He has been part of the research team in 10 European and national projects. Alfio Ferrara is also the author of more than 100 publications in international journals, volumes and conference proceedings. At the University of Milan, he was also one of the promoters of the Data Science and Economics Master’s Degree Course and of the II level University Master’s Degree in Data Science for Economics, Business and Finance.


Federico Gustavo Pizzetti

Full Professor of Public Law

Federico Gustavo Pizzetti, born in 1976, graduated in Law at the University of Turin (Italy) in 1999, is Full Professor of Public Law at the University of Milan (Italy), where he also teaches Biolaw, since 2015. He is actually Vicedirector of the Department of International, Legal and Historical-Political Studies. He has written around 140 publications (among which, 8 books). He is a member of the International Forum of Teachers in Bioethics, medical ethics and medical law, UNESCO Chair in Bioethics; of the European Association of Health Law; of the Italian Society of Neuroethics and Philosophy of the Neurosciences; and of the Italian Association of Constitutional Lawyers. He is affiliated of the The Initiative on Neuroscience and the Law Project, Houston Baylor College of Medicine. His research areas are about the End-of-Life Decisionmaking Law, the Constitutional Law and Neurosciences, the Human Duties (in particular, to protect vulnerable persons).


Anna Caterina Dalmasso

Assistant Professor of Media Archaeology

Anna Caterina Dalmasso (Ph.D. Philosophy, University of Lyon/University of Milan, 2015) is assistant professor (ricercatrice a tempo determinato RTD-A) at the Department of Philosophy of University of Milan. Her research combines visual culture, film and media studies with phenomenology and aesthetics. Her current focuses are the aesthetics of virtual environments and immersive media, post-cinema, and media archaeology. She has been Marie Curie COFUND postdoctoral fellow at the Centre Prospéro of Saint-Louis University – Brussels (2017-2019). She devoted her doctoral thesis to Merleau-Ponty’s philosophy of the visual and to its implications for contemporary mediality and technoculture (published in two books: Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Mimesis, 2018; L’œil et l’histoire. Merleau-Ponty et l’historicité de la perception, Mimesis, 2019). She has coedited several interdisciplinary collective books and journal issues on screens studies and philosophy of cinema. She is also filmmaker and has worked in cinema, television and in audiovisual literacy workshops, collaborating with the director Andrea Caccia.


Fabrizia Bandi

Postdoc Reasercher

Fabrizia Bandi, graduated at University of Milano, is a PhD in Philosophical Sciences – Aesthetics and Theory of the Arts (University of Palermo 2016). Her main research topics are phenomenology and aesthetics, with particular regard to the phenomenology of aesthetic experience, aesthetics of architecture and art. She has been postdoctoral fellow at Accademia di Architettura di Mendrisio (Università della Svizzera Italiana) thanks to an Excellence fellowship of the FNS (Swiss National Science Foundation) dedicated to the concept of Freespace. She has been adjunct professor of the Aesthetics course at Politecnico of Milan, MSc programme Architectural Design and History (2016-2020). She is a member of the editorial staff of the journal Studi di Estetica as well as of the SIE (Italian Society of Aesthetics). In 2018 she has published the book La percezione armata. Esperienza estetica e immaginazione in Mikel Dufrenne (Mimesis).


Federica Cavaletti

Postdoc Researcher

Federica Cavaletti’s main research fields are aesthetics and phenomenology, and she combines theoretical and empirical methods of investigation. She obtained her PhD degree in Humanities (curriculum: Communication, media, and performing arts) at the Catholic University of the Sacred Heart of Milan. The topic of her dissertation was time perception in audiovisual media, which she explored both theoretically and by means of methods from cognitive psychology and empirical phenomenology (micro-phenomenological interviews). Within the ERC project “AN-ICON”, she is mainly contributing to the “Theory” and “Practices” research axes. More in particular, she is working on the first-person experience of VR environments and on the dynamics of the gazes implied in these environments. She is also addressing these topics in relation to the uses of VR in professional domains such as psychology, psychiatry, and medicine.


Elisabetta Modena

Postdoc Researcher

Elisabetta Modena is a PhD in History of Art and History of Spectacle (University of Parma 2010).  Her main research topics are contemporary art, museology and museography, digital humanities and archives, and video games culture. She has been research fellow at CSAC (Centro Studi e Archivio della Comunicazione) of the University of Parma (2017-2018) as well as adjunct professor of Videogame Screen Writing (2010-2019), Contemporary Museology (2015-2019), and Phenomenology of the Image (2017-2019) at the Accademia di Belle Arti Santa Giulia in Brescia. As a curator, she has organised national and international exhibitions in both public and private venues (MAXXI, Rome; CSAC, Parma; MSU, Zagreb; Galleria del Premio Suzzara). She has also planned educational activities and inclusive workshops for exhibitions and museums. Together with Marco Scotti, she is the founder and curator of MoRE, a digital museum dedicated to unrealised contemporary art projects.


Alessandro Costella

Research fellow

Alessandro Costella has graduated from the University of Milano in 2020, Master’s Degree in Computer Science. His main research topics within this project concern the design and development of virtual reality experiences. He also works with artists within the 12th Atelier, collaborating in the creation of their digital works of art. During his studies he worked as game designer and system designer at Acchiappasogni s.r.l., creating art-based tabletop role playing games.


Roberto Paolo Malaspina

PhD Candidate

Roberto Paolo Malaspina graduated (BA) in 2016 at the University of Florence in History and Conservation of Cultural Heritages with a thesis on the relationship between museology and New Media. In 2019 he concluded his MA degree in Visual Arts at the University of Bologna, with a dissertation on the theoretical identity of postmodern architecture. During his studies, he worked as curator for Narkissos, an independent gallery based in Bologna, where he further researched on the interrelation between body, technology and feminisms. Between 2019 and 2020 he attended CAMPO, course for curators of the Fondazione Sandretto Re Rebaudengo. He is currently a PhD student at the University of Milan – Department of Philosophy and Human Science – where he conducts a research on the relationship between embodied perception and New Media in the fruition of pornographic moving images.


Barbara Grespi

Associate Professor of Cinema and Visual Studies

Barbara Grespi teaches Cinema and Visual Studies at the University of Milan, Department of Philosophy “Piero Martinetti”. She has written extensively on the theme of gesture, on the relationship between cinema and photography, and on the theories of montage. Her essays have appeared in the international journals Acoma, Agalma, Bianco&Nero, Ikon, Interface, L’anello che non tiene, Aisthesis, Cinema&Cie (of this last she is also editor). Her main publications include Memoria e Immagini (ed., Mondadori, 2009), Cinema e montaggio (Carocci, 2010), Gus Van Sant (ed., Marsilio 2011), Fuori quadro (co-ed., Aracne, 2013), Overlapping Images (co-ed., Mimesis International, 2016), Harun Farocki (co-ed., Mimesis 2017), Il cinema come gesto (Arcane, 2017), Apparizioni (co-ed., Aracne, 2018), Figure del corpo (Meltemi, 2019), Bodies of Stone in the Media, Visual Culture and the Arts (co-ed, Amsterdam University Press, 2020). She was on the Selection Committee of the Torino Film Festival from 2007 to 2017.


Giancarlo Grossi

Postdoc Researcher

Giancarlo Grossi is a post-doc researcher in Aesthetics in the Philosophy Department of the University of Milan. His research interests concern the relationship between visual culture, media devices and mind sciences. His later studies focus on the relationship between immersive media and aesthetic experience from an archaeological point of view. He has published several articles in scientific journals and a book: Le regole della convulsione. Archeologia del corpo cinematografico [The Rules of Convultion. Archaeology of the Cinematic Body], Meltemi 2017.


Francesco Emilio Restuccia

Postdoc Researcher

Francesco Restuccia is a PhD in Philosophy, Aesthetics (La Sapienza – University of Rome 2018). His main research interests include history of aesthetics, anthropology of images, media theory and philosophy of technology. He carried out part of his research at the Flusser Archive (UdK, Berlin) and at Sorbonne Nouvelle – University of Paris 3. He’s member of the Advisory Board of the international journal Flusser Studies. He submitted a book about idolatry in the age of new media. As part of the art collective ATI suffix he took part to exhibitions, performances and installations in several international contexts (Palaexpo Rome 2020, Amsterdam Light Festival 2017, Universalmuseum Joanneum Graz 2017, Venice Biennale 2016, Columbia University Studio X Istanbul 2015, Istanbul Modern 2015, Istanbul Biennial 2014). He is currently working on a project about illusion and play as part of a post-doctoral fellowship at the Istituto Italiano di Studi Germanici (Rome).


Margherita Fontana

PhD Candidate

Margherita Fontana  (1993) is a PhD Student in Visual and Media Studies at IULM University of Milan. She obtained her Bachelor’s degree and her Master’s degree at the State University of Milan, under the supervision of Prof. Andrea Pinotti. In these occasions, she worked upon the relationship between some relevant moments of contemporary American art history and esthetics. In particular, she studied the philosophical implications of Lucy Lippard’s thought and art criticism, with a special focus on the theoretical implications of political art. She is currently writing her doctoral dissertation, under the supervision of professors Vincenzo Trione and Andrea Pinotti, on the problematic issue of primitivism in American contemporary art. Her main fields of interest are the anthropology of images and the political and social connotations of artistic acts.


Giacomo Mercuriali

PhD Candidate

Giacomo Mercuriali (Rimini, 1990) holds a BA in Economics and Management of Arts and Cultural Activities from Ca’ Foscari University in Venice and a MA in Art History from the University of Milan. Currently, he is a PhD candidate in Aesthetics at the Department of Philosophy of the University of Milan, and he teaches “Semiotics of Arts” and “Theory of Perception and Psychology of Forms” at the Academy of Fine Arts Santa Giulia, Brescia. He spent research periods at the “Centre d’histoire et de théorie des arts” (CEHTA) of the École des hautes études en sciences sociales (EHESS) in Paris. Giacomo works on the relationship between images and power in different domains: image theory, digital media theory, art history and iconology. He has published peer-reviewed articles on topics such as Giorgio Agamben, Aby Warburg’s Atlas Mnemosyne, and perspectives of digital art history. He is part of the editorial board of RESOLUTION, a magazine on digital images in contemporary culture.


Sofia Pirandello

PhD Candidate

Sofia Pirandello (1993) is a PhD student in Philosophy at the State University of Milan. She obtained her Bachelor’s degree at the University of Rome – “La Sapienza” (under the supervision of Prof. Pietro Montani) and her Master’s degree at the University of Turin (under the supervision of Prof. Tiziana Andina). In both occasions, she worked on imagination in order to show its relevance in our everyday life, taking into account the cases of literature, visual arts, and mental diseases like schizophrenia. She attended CAMPO, the art curator course held by Fondazione Sandretto Re Rebaudengo of Turin. She is currently working on a PhD thesis about how digital technology affects our cognitive evolution, studying the effects of Augmented Reality (AR) on reasoning and creativity, under the supervision of Prof. Andrea Pinotti.


Giuliana Bruno

Emmet Blakeney Gleason Professor of Visual and Environmental Studies at Harvard University


Gordon Calleja

Associate Professor, Institute of Digital Games at University of Malta


Mauro Carbone

Full Professor of Aesthetics at University of Lyon 3


Francesco Casetti

Thomas E. Donnelley Professor of Humanities and Professor of Film Studies at Yale University


Ruggero Eugeni

Full Professor of Semiotics of Media at Catholic University of Milan


Kurt W. Forster

Visiting Professor Emeritus at Yale University


David Freedberg

Pierre Matisse Professor of the History of Art and Director of the Italian Academy for Advanced Studies in America


Vittorio Gallese

Full Professor of Psychobiology at University of Parma


Dario Gamboni

Professor of Art History at University of Geneva


Gertrud Koch

Professor of Film Studies at Free University of Berlin


Pietro Montani

Onorary Professor of Aesthetics at La Sapienza University Rome


Catrin Misselhorn

Professor of Philosophy of Science and Technology at University of Stuttgart


W.J. Thomas Mitchell

Gaylord Donnelley Distinguished Service Professor of English and Art History at the University of Chicago


Antonio Somaini

Professor of Film, Media, and Visual Culture Studies at University Sorbonne Nouvelle


Victor Stoichita

Professor Emeritus of Modern and Contemporary Art at University of Friburg


Caroline van Eck

Professor of Art History at University of Cambridge


Kitty Zijlmans

Professor of Contemporary Art History and Theory/World Art Studies at University of Leiden


Contact

This project has received funding from the European
Research Council (ERC) under the European Union’s Horizon
2020 research and innovation programme.
Grant agreement No. 834033 AN-ICON.

Università degli Studi di Milano, Dipartimento di Filosofia "Piero Martinetti",

Via Festa del Perdono 7, 20122, Milano, Italy