This book investigates the ontological state of relations in a unique way. Starting with the notion of system, it shows that the system can be understood as a relational structure, and that relations can be assessed within themselves, with no need to transform relations in elements. "Relations" are understood in contrast to "relational property": without a relation there is no identity, therefore no existence. What allows us to do that without hypostatizing the relation, and without immediately taking it simply as a causal relation, can be better grasped, possibly, in reference to a few entities that make best display of their systemic nature, for example images, works of art, and virtual bodies. This book shows how virtual bodies are ontological hybrids representing a type of entity that has never appeared in the world before. This entity becomes a phenomenon in interactivity and evades the dichotomy between "external" and "internal"; it is neither a cognitive product of the consciousness, nor an image of the mind. The user is well aware of experiencing anotherreality, also in the sense of a paradoxical reduplication of perceptual synthesis. The virtual body-environment is therefore simultaneously external and internal, with virtual bodies-environments to be seen as artificial windows to an intermediary world. In this intermediary world, the space itself is the result of interactivity; the world takes place in the sense or feeling of immersion experienced by the user; and the body, perceived as "other", takes upon itself the sense of its reality, of its effectiveness, as an imaginary and pathic incision, as a production of desire and emotion, to the point that the feeling of reality conveyed by a virtual environment will rely significantly on how this environment produces emotions in the users.

Aesthetics in Present Future: The Arts and the Technological Horizon collects essays by specialized scholars and a few artists, who focus on the issue of how deeply the arts change when conveyed by the new media (the web; 3D printers, videos, etc.) or also simply diffused by them. Every author shows to analyze the topic without glorifying nor criticizing this strong tendency. Their analyses proceed as descriptions, stating how both the virtual production and virtual communication change our attitudes toward what we call the arts. The scope of the topics goes from photography to cinema, to painting, from theatre to avant-guarde art and net art, construction of robots and simulation of brain functions. The result is an astonishing range of new possibilities for the arts and new perspectives regarding our knowledge of the world.

This book investigates the ontological state of relations in a unique way. Starting with the notion of system, it shows that the system can be understood as a relational structure, and that relations can be assessed within themselves, with no need to transform relations in elements. "Relations" are understood in contrast to "relational property": without a relation there is no identity, therefore no existence. What allows us to do that without hypostatizing the relation, and without immediately taking it simply as a causal relation, can be better grasped, possibly, in reference to a few entities that make best display of their systemic nature, for example images, works of art, and virtual bodies. This book shows how virtual bodies are ontological hybrids representing a type of entity that has never appeared in the world before. This entity becomes a phenomenon in interactivity and evades the dichotomy between "external" and "internal"; it is neither a cognitive product of the consciousness, nor an image of the mind. The user is well aware of experiencing anotherreality, also in the sense of a paradoxical reduplication of perceptual synthesis. The virtual body-environment is therefore simultaneously external and internal, with virtual bodies-environments to be seen as artificial windows to an intermediary world. In this intermediary world, the space itself is the result of interactivity; the world takes place in the sense or feeling of immersion experienced by the user; and the body, perceived as "other", takes upon itself the sense of its reality, of its effectiveness, as an imaginary and pathic incision, as a production of desire and emotion, to the point that the feeling of reality conveyed by a virtual environment will rely significantly on how this environment produces emotions in the users.

The itineraries suggested in this book interrogate the ontological and metaphysical sense of aesthetic experience, understood as the primary experience, in which our complexity as human beings is invested by the world and manifests itself. Readers will find two different yet convergent intentions. The first, exquisitely ontologico-aesthetic, develops Merleau-Ponty's concept of the flesh-element towards an ontology of virtuality, with the aim of understanding a new entity, neither properly living nor properly artificial, appearing on the background of being. The second, predominantly aesthetico-metaphysical, takes the entity's force of being in the aesthetico-linguistic experience of deixis, and tries to show the work of the aesthetic logos as a condition of possibility for meta-empirical inference. working title