By Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon
Reconfigures vintage aesthetic innovations with regards to the newness brought by means of digital bodies.
Arguing that the digital physique is anything new—namely, an entity that from an ontological viewpoint 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 distance unfolded through the well-known contrast in Aristotle’s Physics among normal and synthetic beings—they are either. they're beings which are concurrently occasions; they're photos which are without delay inner and exterior; they're ontological hybrids that exist simply within the interplay among logical-computational textual content and human our bodies endowed with technological prostheses. Pursuing this line of concept, Diodato reconfigures vintage aesthetic innovations resembling 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 info for Aesthetics of the Virtual
11 of course, the original can be said in many ways, but the fact that it came to presence in a specific image now belongs to its being: “every such presentation is an ontological event and occupies the same ontological level as what is represented. By being presented it experiences, as it were, an increase in being. ”12 For Gadamer, the most exemplary place to look for this proposal is the religious image, inasmuch as it seems to have an “ontological communication” with the represented. ”13 I would say that compared to all this, the virtual body goes one step further, carrying its relation to non-imitative mimesis to extreme consequences.
2 Mimesis is at the crossroads of mechanical and creative representation, and it traverses the meanings of similarity and expression, simulation and assimilation. Mimesis is the territory in which the process of the aestheticization of the world is currently being played out, triggered by uncontrollable currents of mimetic desire and the discovery—and sometimes the protection and caretaking—of novel resemblances that open up horizons of meaning. Mimesis is now a field of hybridization between the sciences, from anthropology to technology, from the human sciences to ethology, and in this connection what is here interesting is the further mutation brought about by the novelty of the virtual body.
From the noetic point of view one will inspect instead the differences between retention, recollection, expectation, and so on—in short, those modes of consciousness that are, for the phenomenologist, the conditions of subjectivity. The philosophical analysis of perception, which is normally an apprehension that intentionally embraces together all those layers that the analysis distinguishes, belongs, of course, to the phenomenological perspective. From here emerges a difference—obviously beyond that between the empirical and the transcendental scope of the analysis—between the psychological approach, which is pursued by scholars of the notion of presence within virtual environments, and the philosophical approach, which an aesthetics of the virtual cannot avoid, at least on a preliminary basis.