Aesthetics in Present Future: The Arts and the Technological Horizon

Aesthetics in Present Future: The Arts and the Technological Horizon

Language: English

Pages: 214

ISBN: 0739173731

Format: PDF / Kindle (mobi) / ePub

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.

Flow: Nature's Patterns: A Tapestry in Three Parts

Klein, Sartre and Imagination in the Films of Ingmar Bergman

I Think You're Totally Wrong: A Quarrel

The Ideology of the Aesthetic

On the Beauty of Women
















time. The next, and perhaps most serious in terms of this discussion, is the time needed to simply explore the game space sufficiently to see it as more than a fragment. This can be ten, twenty, forty, or even eighty hours of commitment. That strikes committed gamers as a fine value for the money invested in the purchase of the game, but the sheer time demanded tends to deter the uncommitted or “casual” gamer, much less the bystander who might be interested in the experience, yet cannot justify

world, which defines itself as follows: “Welcome to Twitter. Find out what’s happening, right now, with the people and organizations you care about.” To sign in it’s as easy as it gets: a username (for instance, @alessandrolanni), a password, and you’re in. But “in” what, exactly? Nothing. When you sign in, you’re into nothing. Or better, you’re inside something that can potentially become something else but hasn’t a shape yet. Our TimeLine is literally empty because we haven’t started to follow

perhaps filled in with colors, but without specifics because the gestalt has little detail. The gestalt is generic, perhaps in a platonic way; it is not the 72 image of a particular object. My gestalt does not appear cartoonish to me because the moment I consider color, or highlights, the gestalt has them, but not until then. People with Bonnet syndrome sometimes report hallucinations actually looking like cartoons.[24] That we can understand cartoons so easily, despite their being very

passageway? It may be that the metaphor of the window can work if understood in a nontrivial way: it is not about passing through Alberti’s window, for the virtual environment is not (is not only, and is not essentially) a simulated reproduction of reality. The virtual body is rather an environment-window, a sui generis place where the internal-external relationship changes according to the different standards, acquiring a relevant power. I will soon come back to the question from an ontological

Baumgarten, Alexander G., 1 Barthes, Roland, 1 , 2 , 3 , 4 T the Beatles, 1 B Beato Angelico, 1 Beethoven, Ludwig van, 1 Behrman, Marlene, 1 , 2 Bellay, Jean du, 1 Benjamin, Walter, 1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 Bennett, Audry, 1 , 2 Berg, Adam, 1 , 2 Berg, Alban, 1 Bergman, Ingmar, 1 Bergson, Henri, 1 , 2 Bernini, Gianlorenzo, 1 , 2 Beshty, Walead, 1 Bicocchi, Mariagloria, 1 Blakeslee, Sandra, 1 , 2 , 3 Boetti, Alighiero, 1 , 2 , 3.1-3.2 Bosch, Hieronymus, 1 Bourriaud, Nicolas, 1 , 2 Boym,

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