Aesthetics in Present Future: The Arts and the Technological Horizon
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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.
windows: the curiosity triggered by windows can make window-shopping satisfying. In some people this curiosity is a pathological desire: a peeping Tom. 68 There is quite a phenomenal difference between looking at an easel painting in a gallery context, and the experience of being invited into a environment such as an installation. The immersive experience of an installation includes peripheral perception and leads to the scanning of the entire scene. The installation invites interaction or at
knowledge, and image production. Examples range from computer design to Web sites, cinema, theater, photography, architecture, painting, and information media. We focus on how such issues spell out the ways in which an aesthetic program can transcend the contingencies of contexts without overriding our ability to respond to imminent events. The speed at which our and future generations’ technological tools change makes it urgent to comprehend the consequent modifications of our perspectives, and
possible significations, each appearing to be an equally valid and important “source.” And at the heart of this phenomenon lies transcoding as allowing digital and systemic transference of photographic images through binary coding in multiple platforms. The inevitable outcome is the experience of aesthetic disequilibrium that violently unsettles any ontological fixity to a photographic image, either digitally seen on a screen or printed onto a surface. All images, photographic or pictorial,
and destroy one another (and themselves in the process), yet the endless replays and repetitions of these occurrences risks making us numb, or wanting to turn or shy away 140 from these images and documents. We also try not to become immune to the outrage of seeing dead human bodies in streets and open spaces along with the presentation of collapsed and collapsing buildings hit incessantly by artillery fire. Just as with Miyamoto’s exhibition, Kiefer’s exhibition also accomplished the task of
make their instantaneous study or enjoyment possible. Moreover, as part of the application of new technologies, reel after reel of entire cinémathèques, dating from the pioneer age to the silent cinema and beyond, are now in the process of being restored, sometimes pixel by pixel, from a state of quasi ruin and saved from becoming celluloid dust. Aesthetics and Ethics of SciFi Can we conceive of a civilization without ruins? Probably not any more than we can conceive of a self without a past, or