In his short but important essay Cultura, arte e telematica (1996), Emilio Garroni wondered about future relations between art and telematic innovations. However, Garroni’s aim was certainly not to answer an impractical question about the fate of artistic production, it was rather to question the very meaning and legitimacy of any question about “art”. In this sense, Garroni’s attempt was to clarify the conditions and terms of the discussion on the artistic or more generally aesthetic scope of telematic innovations. From this point of view, we aim to analyse the nature and the main characteristics of videogame, focusing on its specific form of technical creativity, linked to the concepts of fictional, virtuality, immersivity and presence. Garroni, after having removed any possible abuse of the notion of “art”, suggested a possible innovative development of telematic productions (more or less) artistic, both in terms of spatio temporally elaborating images and in the interactivity of fruition. In this regard, the medial experience provided by the videogame seems to be a particularly significant example, as a sort of laboratory that allows us to observe new technical possibilities of contemporary creativity.
D'Ammando, Andrea, and Manuel Maximilan Riolo.
"CULTURA, ARTE E VIDEOGIOCO. Note e osservazioni a partire dalla riflessione di Emilio Garroni". Pólemos,vol. I, no. 2, 2020, 344-366.https://www.rivistapolemos.it/videogioco-e-virtualita-a-partire-da-garroni/?lang=en
APA
D'Ammando, A., & Riolo, M. (2020). CULTURA, ARTE E VIDEOGIOCO. Note e osservazioni a partire dalla riflessione di Emilio Garroni. Pólemos,I (2), 344-366https://www.rivistapolemos.it/videogioco-e-virtualita-a-partire-da-garroni/?lang=en
Chicago
D'Ammando, Andrea, and Manuel Maximilan Riolo. "CULTURA, ARTE E VIDEOGIOCO. Note e osservazioni a partire dalla riflessione di Emilio Garroni" PólemosI, no. 2 (2020): 344-366. https://www.rivistapolemos.it/videogioco-e-virtualita-a-partire-da-garroni/?lang=en
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TY - JOUR
A1 - D'Ammando, Andrea
A2 - Riolo,Manuel Maximilan
PY - 2020
TI - CULTURA, ARTE E VIDEOGIOCO. Note e osservazioni a partire dalla riflessione di Emilio Garroni
JO - Pólemos
SN - 9788855222457/2281-9517
AB - In his short but important essay Cultura, arte e telematica (1996), Emilio Garroni wondered about future relations between art and telematic innovations. However, Garroni's aim was certainly not to answer an impractical question about the fate of artistic production, it was rather to question the very meaning and legitimacy of any question about "art". In this sense, Garroni's attempt was to clarify the conditions and terms of the discussion on the artistic or more generally aesthetic scope of telematic innovations. From this point of view, we aim to analyse the nature and the main characteristics of videogame, focusing on its specific form of technical creativity, linked to the concepts of fictional, virtuality, immersivity and presence. Garroni, after having removed any possible abuse of the notion of "art", suggested a possible innovative development of telematic productions (more or less) artistic, both in terms of spatio temporally elaborating images and in the interactivity of fruition. In this regard, the medial experience provided by the videogame seems to be a particularly significant example, as a sort of laboratory that allows us to observe new technical possibilities of contemporary creativity.
SE - 2/2020
DA - 2020
KW - arte KW - estetica KW - Fictional KW - finzionale KW - Presence KW - presenza KW - Videogames KW - videogioco KW - Garroni KW - Aesthetics KW - Art
UR - https://www.rivistapolemos.it/videogioco-e-virtualita-a-partire-da-garroni/?lang=en
DO - 10.48247/P2020-2-020
PB - Donzelli Editore
LA - it
SP - 344
EP - 366
ER -
@article{1048247/P20202020,
author = {Andrea D'Ammando and Manuel MaximilanRiolo},
title = {CULTURA, ARTE E VIDEOGIOCO. Note e osservazioni a partire dalla riflessione di Emilio Garroni},
publisher = {Donzelli Editore},
year = {2020},
ISBN = {9788855222457},
issn = {2281-9517},
abstract = {In his short but important essay Cultura, arte e telematica (1996), Emilio Garroni wondered about future relations between art and telematic innovations. However, Garroni's aim was certainly not to answer an impractical question about the fate of artistic production, it was rather to question the very meaning and legitimacy of any question about "art". In this sense, Garroni's attempt was to clarify the conditions and terms of the discussion on the artistic or more generally aesthetic scope of telematic innovations. From this point of view, we aim to analyse the nature and the main characteristics of videogame, focusing on its specific form of technical creativity, linked to the concepts of fictional, virtuality, immersivity and presence. Garroni, after having removed any possible abuse of the notion of "art", suggested a possible innovative development of telematic productions (more or less) artistic, both in terms of spatio temporally elaborating images and in the interactivity of fruition. In this regard, the medial experience provided by the videogame seems to be a particularly significant example, as a sort of laboratory that allows us to observe new technical possibilities of contemporary creativity.}
journal = {Pólemos},
number = {2/2020},
doi = {10.48247/P2020-2-020},
URL = {https://www.rivistapolemos.it/videogioco-e-virtualita-a-partire-da-garroni/?lang=en},
keywords = {arte; estetica; Fictional; finzionale; Presence; presenza; Videogames; videogioco; Garroni; Aesthetics; Art.},
pages = {344-366},
language = {it}
}
