By Roberto Diodato
Reconfigures vintage aesthetic thoughts in terms of the newness brought by means of digital bodies.
Arguing that the digital physique is anything new—namely, an entity that from an ontological point of view has just recently entered the world—Roberto Diodato considers the results of this type of physique for aesthetics. digital our bodies insert themselves into the gap unfolded by way of the well-known contrast in Aristotle’s Physics among ordinary and synthetic beings—they are either. they're beings which are concurrently occasions; they're photos which are right away inner and exterior; they're ontological hybrids that exist basically within the interplay among logical-computational textual content and human our bodies endowed with technological prostheses. Pursuing this line of proposal, Diodato reconfigures vintage aesthetic techniques akin to mimesis, illustration, the relation among phantasm and fact, the character of pictures and mind's eye, and the idea of sensory knowledge.
Roberto Diodato is affiliate Professor of Aesthetics on the Catholic collage of the Sacred middle in Milan, Italy.
Justin L. Harmon is a educating assistant within the Philosophy division on the collage of Kentucky.
Silvia Benso is Professor of Philosophy on the Rochester Institute of know-how.
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Extra resources for Aesthetics of the Virtual (SUNY series in Contemporary Italian Philosophy)
The philosophical analysis of perception, which is normally an apprehension that intentionally embraces together all those layers that the analysis distinguishes, belongs, of course, to the phenomenological perspective. From here emerges a difference—obviously beyond that between the empirical and the transcendental scope of the analysis—between the psychological approach, which is pursued by scholars of the notion of presence within virtual environments, and the philosophical approach, which an aesthetics of the virtual cannot avoid, at least on a preliminary basis.
Also lacking is the idea of the body as a space of appropriation, as that which can be inhabited and directed from within. Abandoned, therefore, is an internal-external difference more profound than the essential internal-external involvement that only the concept of the living body enables us to think. Also suggested, moreover, is the possibility of an overcoming of the univocal relation between consciousness and identity that developed from the theory of the living body as an organon or schema of self-consciousness.
Nevertheless, by presenting itself it represents and puts at stake a nonimitative sense of mimesis. In order to see how this can happen it will be helpful, before returning to the question of the meaning of mimesis and representation, quickly to examine the question of the simulacrum, and therefore, of the image. RePReSeNtAtIoN? As will be recalled, I claimed that the digital image is not simply an image-of21—is not simply a mimesis of a thing or of an image, and therefore is not essentially simulacral.