Roberto Diodato's Aesthetics of the Virtual (SUNY series in Contemporary PDF

By Roberto Diodato

ISBN-10: 1438444370

ISBN-13: 9781438444376

Reconfigures vintage aesthetic techniques in terms of the newness brought via digital bodies.

Arguing that the digital physique is anything new—namely, an entity that from an ontological point of view has only in the near past entered the world—Roberto Diodato considers the results of this sort of physique for aesthetics. digital our bodies insert themselves into the gap spread out by way of the recognized contrast in Aristotle’s Physics among typical and synthetic beings—they are either. they're beings which are concurrently occasions; they're photos which are immediately inner and exterior; they're ontological hybrids that exist merely within the interplay among logical-computational textual content and human our bodies endowed with technological prostheses. Pursuing this line of concept, Diodato reconfigures vintage aesthetic techniques equivalent 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 college of the Sacred center in Milan, Italy.

Justin L. Harmon is a educating assistant within the Philosophy division on the college of Kentucky.

Silvia Benso is Professor of Philosophy on the Rochester Institute of know-how.

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18 And for Benjamin, the obscure and the enigmatic were part of allegory from the outset. ’ The central motif of allegory, for Benjamin, is the ruin. ’ 42 / THE STATE OF THE REAL In terms of structure, as Owens observes, allegory is static, ritualistic, repetitive. 20 The result is that, whereas history unfolds horizontally, syntagmatically, allegory cuts across this vertically, in a paradigmatic sequence of related images, each feeding upon the others. Nowhere is this more clear than in the work of Thomas Demand, where each image becomes a dense knot which references a specific, iconic image as well as pointing to a set of connected images.

Owens therefore characterises allegory as ‘the epitome of anti-narrative’. ’18 And for Benjamin, the obscure and the enigmatic were part of allegory from the outset. ’ The central motif of allegory, for Benjamin, is the ruin. ’ 42 / THE STATE OF THE REAL In terms of structure, as Owens observes, allegory is static, ritualistic, repetitive. 20 The result is that, whereas history unfolds horizontally, syntagmatically, allegory cuts across this vertically, in a paradigmatic sequence of related images, each feeding upon the others.

It is not, however, the concern for the ontological status of the mechanically reproduced image that provides the only unifying thread between the chapters in this section: equally telling is their identification of violence as an issue that has come to dominate the contemporary discourse of the real. We first encounter it in Jane Tormey’s reminder of how Roland Barthes tried to formulate a general theory of photographic meaning by invoking the concept of the punctum, the act of pricking through which the overt content of a photographic image is opened up to provide a glimpse of another, ostensibly more ‘authentic’, reality.

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Aesthetics of the Virtual (SUNY series in Contemporary Italian Philosophy) by Roberto Diodato


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