Download e-book for kindle: Aesthetics in Present Future: The Arts and the Technological by

ISBN-10: 073917374X

ISBN-13: 9780739173749

The topic of Aesthetics in current Future matters the hot percentages the humanities have and the deep adjustments they're present process, as a result of the new media, and the electronic global within which we're growingly immersed.

That this global is to be understood from a cultured standpoint, develop into transparent if we expect of ways a lot of what we produce, and realize and research is on the market via pictures specifically and perceptual ability more often than not.

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Extra resources for Aesthetics in Present Future: The Arts and the Technological Horizon

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No other culture has been able to examine the infinitesimally small and the immensely large. This in turn has produced entirely new ‘knowledges’ and ‘sciences’, the most radical of which – for example, bioengineering and nanoscience – promise to transform our relationship with organic and inorganic life. Even phusis does not escape the new technosciences. For its users, tele-presence creates a global universe of affects and impulses. Televisuality organizes new writing-affectivites as the different sensory modalities are reconfigured into multi-media formats.

A closely related phenomenon is the blurring of the boundary between real and virtual reality (making a movie like The Truman Show (1998) an illuminating allegory of late modern social life). Yet another psychological tendency is the increasing preference for more and more extreme forms of distraction. ‘Reality TV’ – a product of 1990s global media – has become a fixed feature of mass television entertainment, with the corresponding overproduction of ‘instant celebrities’. At the beginning of the third millennium we might reasonably claim that the image-commodity, as the cellular form of the new photomediated consumer culture, is rapidly becoming the dominant form of representation of modern specularity.

Even the great antinomian cycles of carnivalesque ‘festivities’ described by Mikhail Bakhtin and others do not break the hold of centralized power (the festivity in which the world is turned upside down being itself an affirmation of the status quo in the very act of its ceremonial inversion). The ‘archiving’ of such events was primarily a task for poetry, ritual language and vernacular discourse. All of this changes with the invention of the technical means of image production and reproduction.

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Aesthetics in Present Future: The Arts and the Technological Horizon

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