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.
the more bit-driven realms of remix culture differ in that the remixes are then sent back out into the world to be remixed again themselves in a recursive and ever-unfinished loop. GAMING Certain media are either emboldened or diminished by the expectation that “in the future” they will become somehow that much more than they already are. Games, for example—like comic books, or “graphic novels” as the recent rebrand would have it—have long been in just such a situation. Although there is no area
the creation of things and systems vastly larger than ourselves. This has frequently been the effect of religious devotion, of course, and those who have been to a barn raising have experienced similar kinds of emotions. We know how the memes of simulation and participation competed as well as built on each other: simulation enabled functionality, and participation brought that functionality to ever-more people. This was the promise of computing, and the cultures it has engendered differ
differences are profound. Knowledge embodied in visual memory is mostly generic and intersubjective. Meaningfulness is fundamentally nondeclarative, calling for metaphoric expressions, rather than in unambiguous verbal descriptions. The experience of meaningfulness is one of the most profound human experiences, and I argued that it is at the core of the aesthetic experience. Much work needs to be done to further explore the relations between the neurological description of the visual brain,
read as resonant with a liberal perspective on the Israeli occupation of the West Bank and Gaza, the final statement about “occupied countries” contextualizes this firmly in the German setting. Thus, Sobol presents an interesting interplay between historic specificity and its capacity to resonate for a present-day audience. 9. Glenda Abramson offers a good review of the controversial reception of Sobol’s plays (pre-dating iWitness) in Israel and abroad, in: “Zionism on the Stage: Sobol’s Case” in
the fathers of Video Art and Performance as Nam June Paik, Bruce Nauman, Vito Acconci, and the experience of the most revolutionary body-conscious theatrical directors as Antonin Artaud, Peter Brook and Jerzy Grotowski. Moreover, Bill Viola is also a scholar of great mystics who became his spiritual fathers: Jelaluddin Rumi, Chuang Tzu, St. John of the Cross, Meister Eckhardt, all who embody in his eyes the true nature of the artist. In Florence, in the 1970s, Maria Gloria Bicocchi’s video art