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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
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.
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