Foreword Pietro Conte, Filippo Fimiani, Michel Weemans 3-6 PDF DOI: https://doi.org/10.13128/Aisthesis-19411
Camouflage élargi. Sur l’individuation esthétique Bertrand Prévost 7-15 PDF DOI: https://doi.org/10.13128/Aisthesis-19412
L’estetica del camuffamento animale. Riflessioni sul mimetismo biologico Valeria Maggiore 17-30 PDF DOI: https://doi.org/10.13128/Aisthesis-19413
Setting the Stage for Deception. Perspective Distortion in World War I Camouflage Roy R. Behrens 31-42 PDF DOI: https://doi.org/10.13128/Aisthesis-19414
Il camouflage nel campo allargato. Variazioni su Disruptive Pattern Material e Dazzle Painting nella cultura visiva contemporanea Maite Méndez Baiges 43-58 PDF DOI: https://doi.org/10.13128/Aisthesis-19415
Aesthetics of Fake. An Overview Andrea Mecacci 59-69 PDF DOI: https://doi.org/10.13128/Aisthesis-19416
Reflections on imitation, vocal mimicry, and entrainment Anton Killin 81-87 PDF DOI: https://doi.org/10.13128/Aisthesis-19418
Protée et Caméléon. Mimétismes, calembours harmoniques et dissociation des formes dans la musique de la Renaissance Brenno Boccadoro 89-121 PDF DOI: https://doi.org/10.13128/Aisthesis-19419
«Être comme tout le monde». Per un’archeologia classicista del mimetismo sociale Giancarlo Alfano 123-137 PDF DOI: https://doi.org/10.13128/Aisthesis-19420
Mimicry, Ekphrasis, Construction. «Reading» in Freudian Psychoanalysis Markus Klammer 139-151 PDF DOI: https://doi.org/10.13128/Aisthesis-19421
Copie che sono solo la mia (con una nota di Filippo Fimiani) Luigi Trucillo 153-154 PDF DOI: https://doi.org/10.13128/Aisthesis-19422
Clement Greenberg e la Halakah del Modernismo Camilla Froio 155-175 PDF DOI: https://doi.org/10.13128/Aisthesis-19423
The Quest for “Authenticity”. Three performances of a Bach’s fugue compared Tiago Morais Ribeiro de Sousa 177-196 PDF DOI: https://doi.org/10.13128/Aisthesis-19424
Through the Flat Canvas: The Motor Meaning of Realistic Paintings Silvano Zipoli Caiani 197-217 PDF DOI: https://doi.org/10.13128/Aisthesis-19425
