By Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon
Reconfigures vintage aesthetic thoughts relating to the newness brought via 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 sort of physique for aesthetics. digital our bodies insert themselves into the distance spread out by means of the well-known contrast in Aristotle’s Physics among traditional and synthetic beings—they are either. they're beings which are concurrently occasions; they're photographs which are right now 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 strategies similar to mimesis, illustration, the relation among phantasm and fact, the character of pictures and mind's eye, and the speculation of sensory wisdom
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Additional resources for Aesthetics of the Virtual
But, we might ask, is it not evident at this point that we are excessively forcing the language of theory? In the theory of notation proposed by Goodman, can depiction be truly brought close to description? The criterion of distinction is clear: a symbol can function as representation if it belongs to a representational scheme that is sufficiently syntactically dense. Things become even more complicated if we consider the virtual body as digital image-body, or as hybrid image-body: this is, of course, the self-phenomenalization of an algorithm in binary format, that is, a syntactically differentiated symbolic diagram, and it concerns the scope of exemplificative experience, which involves properties expressed and not simply denoted.
Now, without presupposing a complex system of interpretation it is difficult to draw a distinction between the internal and the external, and still more between the real and the fictitious, or between the private world of consciousness and the external world of reality. Such a distinction resists even when it is mitigated by an intentional structure. In this regard, I prefer to embrace decisively the Cartesian position,51 and in a radical way: We have no tools, with the exception, perhaps, of the complex construction of a metaphysical system, so as to distinguish dream states from waking states.
But this is not what interests us at the moment. We are interested in trying to capture some similarities and differences between forms of memory and environments, between the dream and the virtual. In the dream, we experience our being odd subjects: we are ourselves and at the same time representatives of ourselves, that is, avatars; we are fully immersed in a world which only from an impossible, external point of view is considered fictional, but which is in fact maximally real to the point of producing a sense of presence, that is, a particularly intense perceptual quality of otherness or heteroaffectivity.
Aesthetics of the Virtual by Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon