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By Roberto Diodato

Reconfigures vintage aesthetic options relating to the newness brought through digital bodies.

Arguing that the digital physique is whatever new—namely, an entity that from an ontological standpoint has just recently entered the world—Roberto Diodato considers the consequences of this sort of physique for aesthetics. digital our bodies insert themselves into the gap spread out by way of the well-known contrast in Aristotle’s Physics among usual and synthetic beings—they are either. they're beings which are concurrently occasions; they're photographs which are immediately 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 suggestion, Diodato reconfigures vintage aesthetic recommendations similar to mimesis, illustration, the relation among phantasm and fact, the character of pictures and mind's eye, and the speculation 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 instructing assistant within the Philosophy division on the collage of Kentucky.

Silvia Benso is Professor of Philosophy on the Rochester Institute of expertise.

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Extra resources for Aesthetics of the Virtual (SUNY series in Contemporary Italian Philosophy)

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I limit my examples to some works that are very well known. one of them is Charlotte Davies’s Osmosis (1995),17 a space—which oliver Grau has defined as non-Cartesian—in which, thanks to certain prostheses, we move through breathing (“to go up, breathe in; to go down, exhale”), and which has stirred much debate and can be retraced by reference to Pierre Lévy’s beautiful description: In slow motion you penetrate the world where you were born, crossing layers of cloudlike computer code, winds of words 40 Aesthetics of the Virtual and phrases, until you finally land in the center of a clearing.

Now, after having indicated the direction in which to think of the body as endowed with technological prostheses, we can rewrite it in the terms of the Phenomenology of Perception. Structurally an intentional aperture, a taking in of the world that establishes itself in the opening movement, such a body is not a mere object and cannot be grasped in its complexity through an objectifying gaze. Therefore, it is always imminent to any scientific approach and stands rather as the condition of possibility of a descriptive language.

This means a move beyond the hypothesis of a computational mind, which circulates in various forms of cognitivism, toward an inquiry broadly phenomenological, which presupposes neither the existence of an external order to which a family of meanings objectively belongs, nor the possibility of a mind observing such an order from the outside. , as perception without stimuli, as the generation and comprehension of “external” stories), allowing for the consideration of them in light of their specific quality of interactive presence, even beyond the question as to whether they are altered states of consciousness.

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