By Brunella Antomarini, Adam Berg, Alain Cohen, Rob Spruijt, Erith Jaffe-Berg, Miltos Manetas, Alessandro Lanni, Roberto Diodato, Domenico Parisi, Teresa Iaria, Peter B. Lunenfeld, Ysamur Flores Pena
Aesthetics in current destiny: the humanities and the Technological Horizon is a suite of essays by means of students and some artists who specialise in the difficulty of ways arts both swap while conveyed via new media (such because the internet, 3D printers, and movies) or are easily subtle via them. The individuals’ analyses describe how either digital construction and digital conversation switch our attitudes towards what we name the humanities. The scope of the subjects levels from images to cinema and portray, from theater to avant-garde artwork and web artwork, and from development of robots to simulation of mind services. the result's an amazing variety of latest chances and hazards for the humanities, and new views relating to our wisdom of the world.
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Additional info for Aesthetics in present future : the arts and the technological horizon
We have talked about art in general but art varies as a function of society, epoch, and its relation to other human activities such as religion and power. Therefore our robots should be able to reproduce not only art in general but also the different ways in which art manifests itself in different societies, epochs, and in its relation to other human activities. If we want to understand humans by constructing robots that behave like humans we should be concerned with, and reproduce with our robots, not only the phenomena studied by psychologists and neuroscientists but also the phenomena studied by social scientists.
The fad, for it was a fad, eventually died down, 41 as Web-driven phenomena frequently do, but mash-ups were proof that huge audiences were playing with their culture machines, mixing, matching, pasting, and then getting that unimodern material out into the unimodern world. IMAGING What happened in text and sound inevitably spread to the realm of the image. ” We print much more than text these days. The first major shift came in the era of desktop publishing. In the digital realm, text and image are just strings of ones and zeros, indistinguishable as information, and made manifest only by the medium in which they are eventually released.
This is the “hypercontext,” a dynamic, interlinked communicative community using networks to curate a series of shifting frames and content. The addition of greater levels of information to an object or system is not simply an additive process, it is a transformative one. It transforms objects by augmenting them and situating them in vastly larger hypercontexts, and when done in the proper spirit it makes them exemplify what we can now see as an emerging, global uniculture. Being able to tell figure from ground in this environment of hypertrophied, transtemporal bricolage becomes a vital part of negotiating the use of the culture machine.