This field of research focuses on the media and post-media viewer / user experiences taking place in contemporary ordinary life. In my view, media dispositives are today not only “remediated” and “relocated”, but also “demediated” – it is, the same digital technologies undergo both media and non-media practices, with many semiotic and practical exchanges between media and other social institutions (defense and military apparatuses, surveillance equipment, medical devices, etc.). These phenomena require new semiotic tools in order to grasp the new forms of texts and discourses. At the same time, I consider these recent theories of media experience on the background of the historical development of film and media theories, in order to assess both continuity and discontinuity in the reflections on media.
Capitale algoritmico. Cinque dispositivi postmediali (più uno)
My new book (in Italian) on postmedia condition and postmedia dispositives
Cosa facciamo oggi con le immagini? E soprattutto, che cosa le immagini fanno con noi e di noi? Questo libro cerca una risposta mediante l’analisi di cinque dispositivi (più uno): gli smart glasses, le camere a campo di luce, i visori notturni, la realtà aumentata, le reti neurali e la fotomicrografia elettronico-digitale. Le immagini computazionali, chiamate in queste pagine algoritmi, nascono dalla connessione di risorse appartenenti alla economia politica della luce e del visuale con quelle proprie dell’economia della informazione e dei dati. Esse sono dunque, al tempo stesso, oggetti e strumenti della produzione, estrazione e distribuzione delle risorse comuni. Il “capitale algoritmico” emerge in tal modo come la reale posta in gioco della condizione postmediale.
Augmented Reality Filters and the Faces as Brands: Personal Identities and Marketing Strategies in the Age of Algorithmic Images
In Gabriele Meiselwitz (ed.), Social Computing and Social Media: Applications in Education and Commerce (Part II), HCI International 2022 Conference Proceedings, vol. 15, Cham, Springer, 2022, pp. 1-12. DOI 10.1007/978-3-031-05064-0_17
This paper analyzes the so-called “augmented reality ﬁlters” (ARF), a technology that makes it possible to produce and spread widely on social media a particular type of video selﬁes that are manipulated live while ﬁlming – for example, by modifying the somatic characters of the producer’s face. The ﬁrst part of the paper analyzes ARFs in the light of a socio-semiotics of dispositives. This approach makes it possible to identify three interconnected aspects of ARFs: their technological consistency, which is closer to mixed reality than to augmented reality; their socio-psychological uses, and in particular personal identity construction through body image manipulation; and ﬁnally, their economic-political implications, linked to face recognition and social surveillance. The second part of the paper focuses on the marketing uses of ARFs and, in particular, on branded ARFs transforming users’ faces. In these cases, the radical involvement of brands in deﬁning the identity of users requires a profound rethinking of the mechanisms of trust that bind them to consumers
The Artificial Intelligence of a machine: Moving images in the age of algorithms
With Patricia Pisters, Introduction to the NECSUS_European Journal of Media Studies Spring 2020, July 6, 2020, Special section #Intelligence, dedicated to the relationships between media, algorithms and Artificial Intelligence
Technologically Modified Self–Centred Worlds. Modes of Presence as Effects of Sense in Virtual, Augmented, Mixed and Extended Reality
with Valentino Catricalà, in Federico Biggio, Victoria Dos Santos, Gianmarco Thierry Giuliana (eds.), Meaning–Making in Extended Reality, Canterano (RM), Aracne, 2020, ISBN 9788825534320, pp. 63-90
This paper aims to consider different forms of extended reality (virtual, augmented and mixed reality) as manifestations of “technologically modified self–centered worlds (Umwelte)”. Consequently, the problems of the subject’s presence into the world and that of the mutual world’s presence with respect to the subject, becomes central. From this perspective, we argue that different ex-tended reality technologies constitute different “modes of presence” for the user; and that these modes of presence, conceived as meaning effects, are linked to specific enunciative configurations implied by the hardware and implemented by the software of extended reality dispositives. The paper consists of two parts: the first one examines the development of various forms of extended reality and their uses in the art world, with a specific focus on Jakob Kundst Steensten’s work. The result of the first part is a reasoned classification of extended reality forms, which distinguishes between bystanding media (e.g. cinema), bystanding–immersive media (e.g. hypertexts, video games, and various forms of augmented reality), moderate immersive media (e.g. cinematic virtual reality) and radical immersive media (e.g. mixed reality). The second part analyzes various debates conducted in recent years on the concept of “presence” in the field of engineering and VR psychology, media studies, philosophy and semiotics. It then resumes the classification previously introduced in order to highlight how the modulation of different roles of co–enunciator entrusted to the user determines in each case different modes of presence in technologically modified self–centered worlds.
A Short yet Complete History of Italian Film Theory
“Cinema: Theoretical Discourses”, in Fausto Colombo (ed.), Media and Communication in Italy. Historical. Historical and Theoretical Perspective, Milano, Vita & Pensiero, 2019, pp. 31-45
Tags: film theory; media theory; film studies;
The Post-advertising Condition. A Socio-Semiotic and Semio-Pragmatic Approach to Algorithmic Capitalism
Paper originally presented at the HCI International Conference Orlando (Florida), 26 July 2019 and published as
Ruggero Eugeni, “The Post-advertising Condition. A Socio-Semiotic and Semio-Pragmatic Approach to Algorithmic Capitalism”, in Gabriele Meiselwitz (Ed.), Social Computing and Social media. Communication and Social Communities. 11th International Conference SCSM 2019, Vol. 2, part 2, Cham, Springer Nature, 2019, pp. 291–302,
Lytro. The camera as hypersensor
in Comunicazioni sociali, n. 1, 2016, pp. 115-123, ISSN 0392-8667
Tags: plenoptic camera; sensors; light-field technology; computational photography;
Film and Enunciation
Entry of Edward Branigan, Warren Buckland (eds.), The Routledge Encyclopedia of Film Theory, London – New York, Routledge, 2014, pp. 157-161, ISBN 9780415781800
Tags: film studies; media studies; film semiotics; media semiotics; enunciation;
Film and Rhetoric
Entry of Edward Branigan, Warren Buckland (eds.), The Routledge Encyclopedia of Film Theory, London – New York, Routledge, 2014, pp. 408-412, ISBN 9780415781800
Tags: film studies; media studies; film semiotics; media semiotics; rhetoric of film; psychanalysis of cinema
Glassroots surveillance. Google Glass as dispositive and apparatus
Paper presented at the 2013 NECS Conference Media Politics / Political Media, Prague, June 20-22.
Tags: Google Glass; Postmedia condition; surveillance; dispositive; apparatus
First person shot. Technology and New Forms of Subjectivity in Post-cinema Landscape.
Paper originally presented at the Conference “The Impact of Technological Innovations on the Historiography and Theory of Cinema” Montreal, November 1-6 2011. This text, entirely re-written, has been published in French as “Le plan à la première personne. Technologie et subjectivité dans le paysage postcinematographique”, in André Gaudreault et Martin Lefebvre (dirs.), Techniques et technologies di cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire, Rennes, Presses Universitaires de Rennes, 2015, pp. 195-208 ISBN 9782753535763 ISSN 21035407; and in English as “Remediating the presence. First person Shot and post-cinematic subjectivity”, in Tiziana Migliore (ed.), Rimediazioni. Immagini interattive. Tomo 1, Ariccia (RM), Aracne, 2016, pp. 205-218, ISBN 9788854893320 DOI 10.4399/978885489332011
Tags: media; experience, semiotics; first person shot; videogames; subject; subjectivity
Nikeplatz. The Urban Space as a New Medium
Paper presented at NECS 4th annual conference, Istanbul (Turkey) Kadir Has University, 26 giugno 2010 and at Université d’été de l’Université Sorbonne Nouvelle – Paris 3, Cinéma et art contemporaine 3, Paris, Institut National de l’Histoire de l’Art (INHA), 7 luglio 2010.
Tags: semiotics; experience; sociability; urban space; global cities; territory; Eva and Franco Mattes;