By Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon
Reconfigures vintage aesthetic options on the subject of the newness brought through digital bodies.
Arguing that the digital physique is anything 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 sort of physique for aesthetics. digital our bodies insert themselves into the gap unfolded by way of the well-known contrast in Aristotle’s Physics among ordinary and synthetic beings—they are either. they're beings which are at the same time occasions; they're photos which are straight away inner and exterior; they're ontological hybrids that exist in basic terms within the interplay among logical-computational textual content and human our bodies endowed with technological prostheses. Pursuing this line of idea, Diodato reconfigures vintage aesthetic suggestions corresponding to mimesis, illustration, the relation among phantasm and fact, 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
M y Body in the Virtual environment 19 of noncontradiction (for which one single element from every class of perceptual property belongs in time t to the object in location l—note that one must assume the hypothesis still to be demonstrated, namely, that there exists a definable time-instant), and on the other hand, at the same time, the virtual body, through its interactivity, dissolves the difference between distal and proximal stimulus, insofar as it is, so to speak, both ontologically near and perceptually distant.
Let us now justify these observations, first of all in their effects with respect to some traditional categories in aesthetics, namely, representation and simulacrum. When the virtual body is understood as representation, it demonstrates a unique complexity and paradoxical nature. In what sense, for our purposes, should we understand the term representation? If we reflect on the nature of representation, we certainly find in Nelson Goodman the most radical critique of its being understood in 42 Aesthetics of the Virtual terms of resemblance or reference justified by similarity according to a sign-signified relation.
It thus seems to me difficult to read the virtual body in terms of Goodman’s powerful theory of notation, and this is evidence of the virtual body’s peculiar novelty. This does not imply a direct rejection of the theory, its assumptions, and its consequences, but it seems difficult to extend its scope to include the virtual body. Among other things, virtual art could not be interpreted as either autographic or allographic because it both depends intrinsically and at the same does not depend intrinsically on a notation, and even the famous “symptoms of the aesthetic” theory, which for Goodman as well does not claim to be exhaustive, should be modified.
Aesthetics of the Virtual by Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon