Sperimentazioni estetiche: sound art e concezioni dell’ascolto sonoro

Arielli, Emanuele; Busechian, Roberta

doi:10.4000/estetica.3016

Cited by 2 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…11 11 The problem with Audio Guide also arises with a range of digital technologies that direct our aesthetic activities by automating and externalizing our aesthetic decisions in ways that are conditioned by a non-aesthetic market incentive to keep users engaged with the platform. See Arielli (2018) for discussion of digital aesthetic technologies. This is compatible with the thought that audio guides and other technologies can improve our aesthetic lives by directing the use of our aesthetic capacities and helping us develop them.…”

Section: Aesthetic Autonomy In Communitymentioning

confidence: 99%

“…Film and music algorithms, content aggregation, TikTok critics, Instagram influencers, Netflix recommendations, targeted Google ads, and so on and on: these sources present us with select aesthetic goods and may even suggest that we value them in particular ways. (Arielli 2018) Acquaintance and Autonomy are different in letter but similar in spirit. Both tell us to engage for ourselves in aesthetic life, one by emphasizing real contact with aesthetic value and the other by insisting that we do so using our own faculties and abilities.…”

Section: Introductionmentioning

confidence: 99%

“…Film and music algorithms, content aggregators, TikTok critics, Instagram influencers, Netflix recommendations, targeted Google ads, and so on and on: these sources present us with select aesthetic goods and may even suggest that we value them in particular ways. (Arielli, 2018)…”

Section: Introductionmentioning

confidence: 99%

“…The problem with Audio Guide also arises with a range of digital technologies that direct our aesthetic activities by automating and externalizing our aesthetic decisions in ways that are conditioned by a non-aesthetic market incentive to keep users engaged with the platform. SeeArielli (2018) for discussion of digital aesthetic technologies.…”

mentioning

confidence: 99%

See 3 more Smart Citations

Autonomy and aesthetic valuing

Riggle

2024

Philos Phenomenol Research

View full text Add to dashboard Cite

Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first‐hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen's proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we care about arriving at good aesthetic beliefs for the sake of the values that arise in the process of doing so. The engagement is the point, so we must use our own capacities in first‐hand encounters. Here I challenge Nguyen's account. I argue that it misconstrues the value of aesthetic belief; it conflicts with restrictions on aesthetic testimony; and it has trouble harnessing engagement‐value for a theory of aesthetic value. A better approach emphasizes the social character of aesthetic valuing. On this view, aesthetic valuing is a social practice structured around the collaborative exercise and improvement of certain special capacities. The autonomy and acquaintance principles tell us to engage these capacities in forming our aesthetic beliefs. Understood aright, and contrary to consensus, these rules are identical.

show abstract

Section: Aesthetic Autonomy In Communitymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

mentioning

confidence: 99%

See 2 more Smart Citations

Autonomy and aesthetic valuing

Riggle

2024

Philos Phenomenol Research

View full text Add to dashboard Cite

show abstract

“…Her empirical research finds that users fall back on what they know rather than engage with unknown music.137A wealth of literature focuses on the role of algorithms on streaming platforms in processes of musical discovery. EmanueleArielli (2018) describes how online platforms are based on predetermined classification and categorisation systems, feeding and being fed by -among other aspects -algorithms. These algorithms aim to increase music consumption by offering recommendations to the users, but they are far from transparent (p.79).…”

mentioning

confidence: 99%

Archives of change

Petzold¹

View full text Add to dashboard Cite

published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rightsCopyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights.• Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal.If the publication is distributed under the terms of Article 25fa of the Dutch Copyright Act, indicated by the "Taverne" license above, please follow below link for the End User

show abstract

Sperimentazioni estetiche: sound art e concezioni dell’ascolto sonoro

Cited by 2 publications

References 0 publications

Autonomy and aesthetic valuing

Autonomy and aesthetic valuing

Archives of change

Contact Info

Product

Resources

About