In 2018, with La morte si fa social, Davide Sisto was one of the first in Italy to introduce the topic of digital death. Since then, the relationship between death and new technologies has become increasingly intertwined with our lives, and the emergence of artificial intelligence in the infosphere has made things even more paradoxical.
Aristocles was born from the union of two of the oldest families in Athens. He grows up listening to stories, myths and music. He owns more than a hundred objects, which in an empty world, as opposed to the overflow of ours, is a lot. They say of him that as a child he was so well-behaved that no one ever saw his teeth, because he smiled little and laughed less. He experienced his first real grief at the age of twenty-eight, on the day Socrates died.
Humans change, because humans are history. And we now have to decide what we want to become.
The technological revolution is making our world an extraordinary laboratory of the future, albeit one fraught with risks. For the first time, it is the very form of the human — its limits and boundaries — that is becoming the object of a transformation that shifts the evolutionary path of our species from the history of nature to the history of intelligence, making its next steps merely a result of our choices.
Power and act: one of the most famous pairs in philosophy of all time, a grand rebus on which thinkers have racked their brains for centuries, but above all an elementary scheme for reading and interpreting change and becoming.
Observing oneself and the world through the special lens of these two key-concepts helps to understand and accept mobility, change, transformation: things and human beings are also all that they have been and could become.
Contemporary tattoos practices have not, so far, been the subject of much philosophical investigation. Philosophers – apart from a few sporadic publications that have handled the topic of tattoos mostly from the point of view of aesthetics – have not yet shown a general interest in those indelible marks on the skin, frequently born in marginal contexts and often polemical towards the social order.
The virtual universe, which seems to overwhelm the foundations of our world, comes from afar. Its earliest roots are probably concealed in a Pauline passage full of mystery, in which the advent of the mysterium iniquitatis is announced under the guise of the double, of the one who performs striking mirabilia to accredit himself as the Messiah, as the true Lord, while nothing else is but a false idol and perhaps the devil himself.
In 1851, Arthur Schopenhauer formulated a famous metaphor to describe the difficulty of articulating the relationship between closeness and distance in relationships. On a cold winter's day, a number of hedgehogs come close together to warm each other and not freeze to death. Soon, however, they feel the pain of each other's thorns, and are forced apart. Then when the need to warm up brings them together again, the first problem reoccurs; and so on, tossed back and forth between the two ailments.
For almost two hundred years the question of the death of art has intrigued philosophers and been a challenge to artists. The story begins with a short sentence in Hegel’s Lectures on Aesthetics: ‘art, considered in its highest vocation, is and remains for us a thing of the past.’ In other words, art no longer satisfies humanity’s highest spiritual needs, which are better represented by religion and philosophy. This short sentence, so ambiguous and insidious, started a debate which has continued down to the present day.
Traces the decline of beauty as an ideal from early German romanticism to the twentieth century.
Thanks to the new technologies, images have become the true obsession of our time. The Internet, smartphones, television, newspapers, and even the instruments of medical research, subject us to a daily bombardment, a constant flow of images which penetrate and overwhelm the canons of cultural transmission and of the interpretation of the present. The age- old conflict between image and word seems to have ended with the unexpected defeat of the latter.