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Despite numerous publications on the philosophy of technology,
little attention has been paid to the relationship between being
and value in technology, two aspects which are usually treated
separately. This volume addresses this issue by drawing connections
between the ontology of technology on the one hand and technology's
ethical and aesthetic significance on the other. The book first
considers what technology is and what kind of entities it produces.
Then it examines the moral implications of technology. Finally, it
explores the connections between technology and the arts.
This book uses the conceptual tools of philosophy to shed light on
digital media and on the way in which they bear upon our existence.
At the turn of the century, the rise of digital media significantly
changed our world. The digitizing of traditional media has
extraordinarily increased the circulation of texts, sound, and
images. Digital media have also widened our horizons and altered
our relationship with others and with ourselves. Information
production and communication are still undoubtedly significant
aspects of digital media and life. Recently, however, recording,
registration and keeping track have taken the upper hand in both
online practices and the imaginaries related to them. The essays in
this book therefore focus primarily on the idea that digital media
involve a significant overlapping between communication and
recording.
Despite numerous publications on the philosophy of technology,
little attention has been paid to the relationship between being
and value in technology, two aspects which are usually treated
separately. This volume addresses this issue by drawing connections
between the ontology of technology on the one hand and technology's
ethical and aesthetic significance on the other. The book first
considers what technology is and what kind of entities it produces.
Then it examines the moral implications of technology. Finally, it
explores the connections between technology and the arts.
The notion of aesthetic illusion relates to a number of art forms
and media. Defined as a pleasurable mental state that emerges
during the reception of texts and artefacts, it amounts to the
reader's or viewer's sense of having entered the represented world
while at the same time keeping a distance from it. Aesthetic
Illusion in Literature and the Arts is an in-depth study of the
main questions surrounding this experience of art as reality.
Beginning with an introduction providing historical background to
modern discussions of illusion, it deals with a wide range of
theoretical issues. The collection explores the nature and function
of the aesthetic illusion as well as the role of affect and
emotion, the implications of aesthetic illusion for the theory of
fiction, the variable forms of aesthetic illusion and its
relationship to other components of aesthetic response. Aesthetic
Illusion in Literature and the Arts brings together a team of
scholars from philosophy, literature and art and presents an
interdisciplinary examination of a concept lying at the heart of
contemporary aesthetics.
What is a television series? A widespread answer takes it to be a
totality of episodes and seasons. Luca Bandirali and Enrico Terrone
argue against this characterization. In Concept TV: An Aesthetics
of Television Series, they contend that television series are
concepts that manifest themselves through episodes and seasons,
just as works of conceptual art can manifest themselves through
installations or performances. In this sense, a television series
is a conceptual narrative, a principle of construction of similar
narratives. While the film viewer directly appreciates a narrative
made of images and sounds, the TV viewer relies on images and
sounds to grasp the conceptual narrative that they express. Here
lies the key difference between television and film. Reflecting on
this difference paves the way for an aesthetics of television
series that makes room for their alleged prolixity, their tendency
to repetition, and their lack of narrative closure. Bandirali and
Terrone shed light on the specific ways in which television series
are evaluated, arguing that some apparent flaws of them are,
indeed, aesthetic merits when considered from a conceptual
perspective. Hence, to maximize the aesthetic value of television
series, one should not assess them in the same framework in which
films are assessed but rather in this new conceptual framework.
The notion of aesthetic illusion relates to a number of art forms
and media. Defined as a pleasurable mental state that emerges
during the reception of texts and artefacts, it amounts to the
reader's or viewer's sense of having entered the represented world
while at the same time keeping a distance from it. Aesthetic
Illusion in Literature and the Arts is an in-depth study of the
main questions surrounding this experience of art as reality.
Beginning with an introduction providing historical background to
modern discussions of illusion, it deals with a wide range of
theoretical issues. The collection explores the nature and function
of the aesthetic illusion as well as the role of affect and
emotion, the implications of aesthetic illusion for the theory of
fiction, the variable forms of aesthetic illusion and its
relationship to other components of aesthetic response. Aesthetic
Illusion in Literature and the Arts brings together a team of
scholars from philosophy, literature and art and presents an
interdisciplinary examination of a concept lying at the heart of
contemporary aesthetics.
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