Aesthetics in Present Future: The Arts and the Technological Horizon
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Aesthetics in Present Future: The Arts and the Technological Horizon is a collection of essays by scholars and a few artists who focus on the issue of how arts either change when conveyed by new media (such as the web, 3D printers, and videos) or are simply diffused by them. The contributors’ analyses describe how both virtual production and virtual communication change our attitudes toward what we call the arts. The scope of the topics ranges from photography to cinema and painting, from theater to avant-garde art and Net art, and from construction of robots to simulation of brain functions. The result is an astonishing range of new possibilities and risks for the arts, and new perspectives regarding our knowledge of the world.
Includes bibliographical references and index. ISBN 978-0-7391-7373-2 (cloth : alk. paper) — ISBN 978-0-7391-7374-9 (electronic) 1. Aesthetics, Modern—20th century. 2. Aesthetics, Modern—21st century. I. Antomarini, B. (Brunella) II. Berg, Adam, 1962– BH201.A37 2013 701'.17—dc23 2013010021 TM The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in
has in turn led to more opportunities for collaborative multi-authorship. This kind of unsigned multiple creatorship is reminiscent of the Greek myths and the Great Wall of China. Both the myths and the wall took centuries to build, and thousands of people contributed to their effort. We build multiple author works as well, but now we call them Linux, Wikipedia, Flickr, Tumblr, and communal bogs. These are the cultural forms that show us a future in which we could all potentially contribute to
poisoning. She was still able to confidently grab objects, and would avoid obstacles when walking. Bizarrely, though, she had no visual awareness at all of what she was grabbing or what she was not bumping into. Milner and Goodale, and Jacob and Jeannerod concluded that the phenomenology of sight is limited to our pathway for identification. 65 A quick experiment might demonstrate the basic point. While closing one eye, try and have the tips of your index fingers touch each other. Most
KINESTHESIA AND PERFORMATIVE RESPONSES TO DIGITIZED TIME Theater emphasizes to the audience the presence of the body, and the importance of the audience as a collaborator in the creation of meaning. As opposed to other media, which are not dependent on this co-presence (film, television, YouTube, the Net), theater relies on the inhabiting of a given space by actor and audience in a time-bounded event. This aspect has always been a creative constraint in theater making and has induced alternative
internal and external, the strange place where the border becomes territory, of which the ontological structure must quickly be articulated. As we know, one of the most discussed questions in contemporary ontology is the distinction between thing and event, and relatively the distinction between concrete and abstract. Now, in a virtual environment, what the user perceives as a thing is actually an event, the temporary actualization of something virtual existing only, in its actuality, as an