By Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon
Reconfigures vintage aesthetic recommendations relating to the newness brought via digital bodies.
Arguing that the digital physique is whatever new—namely, an entity that from an ontological point of view has only in the near past entered the world—Roberto Diodato considers the implications of this type of physique for aesthetics. digital our bodies insert themselves into the gap spread out through the recognized contrast in Aristotle’s Physics among traditional and synthetic beings—they are either. they're beings which are at the same time occasions; they're photographs which are instantly inner and exterior; they're ontological hybrids that exist merely within the interplay among logical-computational textual content and human our bodies endowed with technological prostheses. Pursuing this line of inspiration, Diodato reconfigures vintage aesthetic techniques equivalent to mimesis, illustration, the relation among phantasm and truth, the character of pictures and mind's eye, and the idea of sensory wisdom
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Extra resources for Aesthetics of the Virtual
27 It is true that bodies “take place at the limit, qua limit: limit—external border, the fracture and intersection of anything foreign in a continuous sense, a continuum of matter. An opening, discreteness. . ”29 And in particular, “the image (that it [the body] thus is) has no link to either the idea or, in general, to the visible (and/or intelligible) ‘presentation’ of anything at all. The body’s not an image of. ”30 All of the above functions, and we therefore take advantage of it, as a description of the immersive and interactive virtual field.
Now, let us consider this relation of fruition as a relation to what a certain system of values has understood as works of art, and thus, as grounded within a varied but recognizable tradition. We should then think of aesthetic appreciation as devoid of distance, which has been a condition for the possibility of the significant form of artistic value, and should instead think of it in terms of a kind of suction, of the entry on the part of the consumer into the body of the work and at the same time an entry of the work into one’s own body or imagination.
Surrounded by capsules of chlorophyll, soft green in color, you enter a leaf, where you watch the complicated dance of photosynthesis. Leaving the leaf, you hover again above the clearing. ) that give off a strange sound like bells ringing in the distance. turning your head, you watch as they fly toward the forest, accompanied by the lingering echoes of the fading sound of celestial bells. Now you are nearly on top of the surface of the pond, where you stop to watch the play of reflected light.