By Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon
Reconfigures vintage aesthetic thoughts in terms of the newness brought by way of digital bodies.
Arguing that the digital physique is whatever new—namely, an entity that from an ontological standpoint 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 via the recognized contrast in Aristotle’s Physics among traditional and synthetic beings—they are either. they're beings which are concurrently occasions; they're pictures which are instantly 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 notion, Diodato reconfigures vintage aesthetic techniques 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
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. ”14 But in the case of the virtual body, thing-being is in no way separable from image-being, so that the idea of vicariousness, of vicarious presence, proper to the concept of representation, tends to be reduced until disappearance.
At this level, the perceptual environment most similar to that of the virtual, at least with respect to the complex and immediate feeling of presence, is perhaps that of dreams. M y Body in the Virtual environment 27 WHAt DReAMS teACH US Without a doubt, we are made of the same stuff of which dreams are made, and perhaps our lives are immersed in a great sleep. ”40 Now, the nature of dreams has been studied in the last twenty years or so by cognitive psychologists according to its paradigms,41 and, consequently, has been thought in relation to the mental activities of perception, reasoning, and the production of narratives.
Objects and events, visual and non-visual, can be represented by either visual or non-visual symbols. Pictures may function as representations within systems very different from the one we happen to consider normal; colors may stand for their complementaries or for sizes, perspective may be reversed or otherwise transformed, and so on. 26 This frees the notion of representation from that of a depiction of the world, from any impoverished conception of mimesis, from the idea of copy and simulacrum, and opens up a space for the symbolic construction of worlds, almost ushering in a profound idea of multimedial synaesthesia.