Aesthetics of the Virtual (SUNY series in Contemporary Italian Philosophy)
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Reconfigures classic aesthetic concepts in relation to the novelty introduced by virtual bodies.
Arguing that the virtual body is something new—namely, an entity that from an ontological perspective has only recently entered the world—Roberto Diodato considers the implications of this kind of body for aesthetics. Virtual bodies insert themselves into the space opened up by the famous distinction in Aristotle’s Physics between natural and artificial beings—they are both. They are beings that are simultaneously events; they are images that are at once internal and external; they are ontological hybrids that exist only in the interaction between logical-computational text and human bodies endowed with technological prostheses. Pursuing this line of thought, Diodato reconfigures classic aesthetic concepts such as mimesis, representation, the relation between illusion and reality, the nature of images and imagination, and the theory of sensory knowledge.
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. In sum, self-consciousness is consciousness that is traversed by the world and that restores the world.31 examples, it seems to me, of experiments that proceed in this direction are the operations of Stelarc and perhaps the last performances by Antunez Roca. Since the distinction is a
difference becomes event), and this unity of experience, that is, the positive that is the appearing of an entity, becomes nothingness. So, precisely because the now cannot be understood only abstractly as an entity-point, of the entity that exists as the now one must by necessity predicate nothingness. Now, can this simple and banal sense of temporal becoming produce any meaning?67 88 Aesthetics of the Virtual Here, the discussion can open up once again in the direction of the virtual. In
other syntheses, and disappears.11 Lévy does not follow Whitehead any farther and proposes, by way of a general ontological principle, a substance-event connection that thinks the event as “a kind of molecular substance, miniaturized and fragmented,” and symmetrically, substance as the “appearance of a set of events, a multitude of coordinated microexperiences aggregated into the image of a ‘thing.’”12 The reference to Whitehead’s descriptive metaphysics is interesting in that some aspects of
tecnologico (Rome: Castelvecchi, 1998), 71. 3. If one means by “simulacra” a mimetic relationship in which the object is portrayed as infinite, then the structure of the simulacrum is built on the structure of mimesis: a deferment lacking in 119 120 4. 5. 6. 7. 8. 9. 10. Notes to Chapter 1 originality, but in which the origin or model remains as absent, without negating the idea of origin or the relation to the origin as a model. Unless the icon is thought of as a kind of threshold,
Pasquinelli, “oggetti e presenza in realtà virtuale,” Sistemi intelligenti xV, no. 3: 479. Ibid.: 480. Ibid. See P. Zahoric, and R. L. Jenison, “Presence as Being-in-theWorld,” Presence: Teleoperators and Virtual Environments 7 (1998): 78–89. See Giuseppe Mantovani and Giuseppe Riva,“‘Real’ Presence: How Different ontologies Generate Different Criteria for Presence, telepresence, and Virtual Presence,” Presence: Teleoperators and Virtual Environments 8, no. 5 (1999): 540–50. See Carassa,