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By Roberto Diodato & Silvia Benso & John Protevi & Justin L. Harmon

Reconfigures vintage aesthetic ideas on the subject of the newness brought through digital bodies.

Arguing that the digital physique is whatever new—namely, an entity that from an ontological viewpoint has only in the near past entered the world—Roberto Diodato considers the implications of this sort of physique for aesthetics. digital our bodies insert themselves into the distance unfolded by means of the well-known contrast in Aristotle’s Physics among average and synthetic beings—they are either. they're beings which are concurrently occasions; they're pictures which are instantly inner and exterior; they're ontological hybrids that exist in simple terms within the interplay among logical-computational textual content and human our bodies endowed with technological prostheses. Pursuing this line of idea, Diodato reconfigures vintage aesthetic techniques resembling mimesis, illustration, the relation among phantasm and truth, the character of pictures and mind's eye, and the idea of sensory wisdom

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3 Forms of expression MIMeSIS? 2 Mimesis is at the crossroads of mechanical and creative representation, and it traverses the meanings of similarity and expression, simulation and assimilation. Mimesis is the territory in which the process of the aestheticization of the world is currently being played out, triggered by uncontrollable currents of mimetic desire and the discovery—and sometimes the protection and caretaking—of novel resemblances that open up horizons of meaning. Mimesis is now a field of hybridization between the sciences, from anthropology to technology, from the human sciences to ethology, and in this connection what is here interesting is the further mutation brought about by the novelty of the virtual body.

12 For Gadamer, the most exemplary place to look for this proposal is the religious image, inasmuch as it seems to have an “ontological communication” with the represented. ”13 I would say that compared to all this, the virtual body goes one step further, carrying its relation to non-imitative mimesis to extreme consequences. ”14 But in the case of the virtual body, thing-being is in no way separable from image-being, so that the idea of vicariousness, of vicarious presence, proper to the concept of representation, tends to be reduced until disappearance.

Do we not know that we cannot change the appearance of the dream by a simple act of will? The dream, its material components, and its causal development escape the constructive grip of the avatar. ” one should notice that I do not suppose any, however obvious, distinction between conscious and unconscious, if 32 Aesthetics of the Virtual only because it would imply a topology that I cannot justify. Instead, I merely point out an experience of heterodirectionality that I assume to be common. [Such an experience] probably implies that the dynamic memory that constitutes, as it were, the stuff of dreams is also composed of desires of which we are unaware in the waking state; briefly, that [such a dynamic memory] is an uncontrollable (even) emotional fabric.

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