I participated in the organisation of the project Oracoli. Saperi e pregiudizi al tempo dell’Intelligenza Artificiale, designed by the publisher Luca Sossella Editore with Emilia Romagna Teatro Fondazione and Unipol Gruppo. It is a series of lectures on the philosophical, historical, social, ethical and economic challenges connected to the emergence of artificial intelligence. I designed and edited a journal describing the project and expanding the reflection around the main issues it will address.
I also published an article in the online magazine CheFare, Oracoli’s partner, discussing how literature over time diversely imagined possible extensions, evolutions, empowerments and re-creations of the human mind and body. Continue reading Oracles
I publish here the talk I’ve given at the Mis-Shapingsconference last September 13 at Queen Mary University.
Do we believe in physiognomy? Do we believe, as the Italian anthropologist Cesare Lombroso did, that psychological, emotional, moral attitudes of the individuals can be divined by observing the shape and features of the face?
No, of course we don’t. Physiognomy is pseudo-science, dismissed knowledge, superstition. We can’t make assumptions merely relying on appearances. Can we?
On Thursday 13th September 2018 will take place at Queen Mary University of London (Mile End Campus, Arts One Building, Room 128) the international conference Mis-Shapings. The Art of Deformation and the History of Emotions. I’m organising the conference, as coordinator of the Marie Skłodowska-Curie research project Misshaping by Words, in association with the Queen Mary Centre for the History of Emotions.
A well established and long-standing bond exists between the representation of the forms and postures of the human figure and the expression of emotions. But how does this change when the body represented is deformed or mis-shapen? This is a question that an interdisciplinary range of scholars, covering a wide chronological period that extends from the Renaissance to the 20th century, will explore in the one-day Mis-Shapings conference.
In his sonnet Sul proprio ritratto (di mano di Bartolomeo Schidoni) – published in 1620 within LaGaleria, a collection of poems conceived as descriptions of, and dialogues with, figurative artworks – Giovan Battista Marino suggests that to depict his portrait a painter should employ the harshness of ice and fire, the terror of the shaded dark of night, the paleness of death, the imperfection of nature, and colours sharpened with whispers and tears. Continue reading Marino: a cosmic self-portrait