# Travel
## flights
https://www.wizzair.com/en-GB/itinerary/FF7QFI/Young
![[attachments/Boarding Card BGY to WAW.pdf]]
## proof that it is cheaper and easier from genova
![[attachments/Screenshot 2025-03-06 at 10.24.31.png]]
# Hotel
https://maps.app.goo.gl/TCh7nQiLBBob8p41A
[ibis Styles Warszawa Centrum](https://www.booking.com/hotel/pl/ibis-styles-warszawa-centrum.en-gb.html?label=gen173nr-1FCAEoggI46AdIM1gEaHGIAQGYAQm4AQfIAQzYAQHoAQH4AQyIAgGoAgO4Aq3kpb4GwAIB0gIkOTZmMWNkZTktNjdkMi00M2IwLTg1ZTctNmQzZjRhNzk0YTEw2AIG4AIB&sid=2ad2240cfe7ec60de62c8910b89b168f&aid=304142)
ul Zagórna 1A, Sródmiescie, 00-441 Warsaw, Poland
### Check-in
Wed 9 Apr 2025
from 15:00
---
### Check-out
Sat 12 Apr 2025
until 12:00
Change dates
Booking details
1 adult - 3 nights, 1 room
Address
ul Zagórna 1A, Sródmiescie, 00-441 Warsaw, Poland
Show directions
https://secure.booking.com/confirmation.en-gb.html?label=gen173nr-1FCAEoggI46AdIM1gEaHGIAQGYAQm4AQfIAQzYAQHoAQH4AQyIAgGoAgO4Aq3kpb4GwAIB0gIkOTZmMWNkZTktNjdkMi00M2IwLTg1ZTctNmQzZjRhNzk0YTEw2AIG4AIB&sid=2ad2240cfe7ec60de62c8910b89b168f&aid=304142&auth_key=FJicQFgsbZVN6kRj&source=mytrips
# To Do
- [x] 📅 2025-01-22 accept invitation 🆔 6wKl4f ✅ 2025-01-22
- [ ] pay conference fee before 📅 2025-02-2025 🆔 WypEPF
- [ ] 🆔 u3t7F0
- [ ] book flights 🆔 Mtt8FE
- [ ] book hotel 🆔 oKVNsO
- [ ] write presentation 🆔 xOQHfs
# Correspondence
- acceptance: [Submission Philosophy, Design and Aesthetics](https://app.shortwave.com/t/m-4d25e8ca-494f-4d22-b7ad-e36904f6534b)
- confirmation
![[attachments/Submission Philosophy, Design and Aesthetics.pdf]]
## Abstract
This paper examines [[the role]] of user experience in [[design aesthetics]], arguing that existing philosophical accounts inadequately capture the [[aesthetic value]] derived from interacting with [[designed objects]]. We first consider two theories: Parsons and Carlson's [[Functional Beauty]] and Forsey's Kant-inspired account. [[Functional Beauty]] proposes that objects possess aesthetic merit when they appear fit for their function, relying primarily on perceptual cues. We argue this perception-based approach is insufficient, as it overlooks designs where [[aesthetic value]] emerges through use rather than appearance. A keyboard may look efficient yet provide a poor typing experience, indicating that [[aesthetic appreciation]] cannot rely solely on visual perception.
While Forsey's account incorporates function into aesthetic judgement by assessing how well an object fulfils its intended purpose, it primarily treats use as a means of assessing functional perfection. [[This approach]] does not fully account for the aesthetic experiences arising from the act of using an object.
In the [[second half]] of the paper, we put forward an account of [[the aesthetics]] of user experience. In some respects, our account is similar to Nguyen's recent agentive aesthetics of games. However, we demonstrate that [[the aesthetics]] of games and [[the aesthetics]] of use differ in at least two ways. First, drawing on Montero's concept of [[aesthetic effortlessness]], we suggest that the [[aesthetic value]] in using designed objects lies in the experience of performing inherently difficult tasks with ease due to good design. This differs from Nguyen's account of the agentive aesthetics of games, where aesthetic pleasure arises from challenges that match and push players' skills.
Second, we examine how the phenomenology of using designed objects differs from gameplay through its integration of purposiveness and means-ends teleology. Unlike game actions confined within a structured environment, interactions with designed objects connect to broader life contexts. This integration of purpose and meaning distinguishes the aesthetic experience of use from gameplay, as designed objects enable actions that align with our practical goals and values.
# Author Information Sheet
## Nick Young
**Affiliation:** University of Genoa (Dipartimento di Antichità, Filosofia e Storia - DAFIST)
**Email:** [
[email protected]](mailto:
[email protected])
Dr Nick Young is a researcher at the University of Genoa, working at the intersection of philosophy, art, and technology. His research examines philosophy of perception, temporal experience, and the phenomenology of agency. He completed his PhD at the University of Antwerp under the supervision of Bence Nanay with a dissertation titled 'Against Hearing Sounds'. Prior to his current role, he served as Adjunct Coordinator for the Centre for the Philosophy of Time at the University of Milan, where he worked on the 'Time–Methods' (2017–2018) and 'Time and Emotion' (2018–2022) projects under Giuliano Torrengo. He is currently a post-doctoral researcher on the PEA project.
## Enrico Terrone
**Affiliation:** University of Genoa (Dipartimento di Antichità, Filosofia e Storia - DAFIST)
**Email:** [
[email protected]](mailto:
[email protected])
Dr Enrico Terrone is Professor of Aesthetics at the University of Genoa. He holds a degree in Electronic Engineering from Politecnico di Torino and a PhD in Philosophy from Università di Torino. His academic positions have included teaching History of Film and Film Criticism at Università del Piemonte Orientale and Philosophy of Engineering at Politecnico di Torino. He has held fellowships at Käte Hamburger Kolleg (Bonn, 2014) and FMSH – Gerda Henkel Stiftung (Paris, 2015), and visiting positions at Institut Jean Nicod (Paris, 2016-2017) and LOGOS Research Group (Barcelona, 2018-2019). His research focuses on philosophical issues in fiction, depiction, and film philosophy. He is the Principal Investigator of the PEA project.
## Bio
Project description: Ancient Greeks used one word, techne, to designate both technology and art. It is only in modern times that art gained autonomy, becoming the object of one philosophical discipline: aesthetics. However, the emergence of mass media, and then of digital media, has brought art back to technology, challenging its autonomy. In this situation, some basic philosophical questions about art regain centrality: Why art? What is art for? Which is the role of art in a technological society like ours?
The traditional answer stresses the uniqueness of art, pointing to the essential difference between artworks and technical artifacts. The increasing interchange between art and technology, however, encourages us to question this statement, pursuing an alternative strategy. The hypothesis is that artworks belong to a technical kind which has been overlooked so far: the kind of experiential artifacts whose function consists in triggering experiences. Art is severed from technology only if one focuses on artifacts such as hammers or engines whose function consists in producing concrete effects. Yet, once experiential artifacts have been recognized, one can fruitfully trace art back to technology, rethinking forms of art as techniques for generating different types of experiences.The PEA project launches the philosophy of experiential artifacts as a new area of inquiry in which the relationship between art and technology can be properly studied, thereby offering a new conceptual toolbox for historical and empirical research. This will be done through a fourfold methodology in which aesthetics and the philosophy of mind analyze the experiences that experiential artifacts are meant to trigger, while metaphysics and the philosophy of technology investigate the structure in virtue of which they perform this function. PEA will thus reconceptualize artworks as technical artifacts that we value for the way in which they enable us to enrich, share and coordinate our experiences.
# Slides