The State of the Real: Aesthetics in the Digital Age

The State of the Real: Aesthetics in the Digital Age

Language: English

Pages: 208

ISBN: 1845110773

Format: PDF / Kindle (mobi) / ePub


The notion of ""the real"" continues to be hotly debated in an era when the internet, virtual reality, cybertheory and bioethics challenge the very nature of ""reality"". Combining the advantages of a critical reader with the immediacy of cutting-edge debate, practitioners and commentators provide crucial insights into contemporary aesthetics, engaging with the ideas of critics and thinkers from Linda Nochlin through to Lyotard and Baudrillard.

The Routledge Companion to Aesthetics (Routledge Philosophy Companions)

Œuvres complètes, tome 7: L'économie à la mesure de l'univers - La Part maudite - La limite de l'utile (Fragments) - Théorie de la Religion - Conférences 1947-1948 - Annexes

Hunger for Aesthetics: Enacting the Demands of Art (Columbia Themes in Philosophy, Social Criticism, and the Arts)

 

 

 

 

 

 

 

 

 

 

and post-war German history, and we find similar material in Ruff’s Zeitungsfotos, a series that embraces political and military figures, portraits and current events. The demise of allegory in painting coincided in part with the decline of history painting, so that a return to history might also favour a revival of allegory. There appears to be a turn to a kind of photographic version of ‘history painting’ in the work under analysis here. It is frequently the case with Ruff, Gursky and Demand

an important focus for how people responded to the messages they received. Rather than directing their messages towards other people, they began to direct them towards the ‘system’ itself: FIGHT THE SYSTEM IM SURE THAT THERE IS A LOT OF PEOPLE IN HERE TRYING TO COMMUNICATE BUT THE MACHINE IS INTERFEARING BY BREKING CONTINUITY YES, PLEASE MAKE IT STOP. I wanted to absent myself as much as possible from the artwork: to become a client, as opposed to an administrator. I also wanted the visitors to

ourselves as anything other than the central player within a technological construct. The vast networked information systems that we engage with on a daily basis today, however, are beginning to construct particular ontologies and autonomies that make them more than the sum of their parts. The process of making sense of the world as a single individual is extremely complicated, and is no longer a case of interacting with organic interlocutors such as human beings or ‘nature’. Often and

can be understood as a coalescing of continuity into consistent, apparently discontinuous forms – objects – through inference or use. It is conceived as a plane, perhaps, because it is both a superficial connection yet depthless, suggesting a surface that both reflects (or illuminates?) and refracts its depth. The plane is a ‘formless elastic membrane’, a screen.21 To develop this explanation of photography’s unifying ontology, we might conclude that the treatment of ‘The Photograph’ as a

agency of Mary I, but the composition of the Execution has the headsman and sergeant of the tower looming over her in a similar manner to Michelangelo’s Creator. Delaroche’s exclamation cannot readily be understood as a prescience of photography’s ability to divide time in such an excruciating manner. Photographic technology would take a number of decades to achieve the kind of instantaneity required to achieve this, and may even have been developed partly as an attempt to do with photography

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