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Titlebook: Aesthetics and the Iconoclasm of Contemporary Art; Pictures Without a W ?arko Pai? Book 2021 The Author(s), under exclusive license to Spri

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樓主
發(fā)表于 2025-3-21 18:00:39 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
期刊全稱Aesthetics and the Iconoclasm of Contemporary Art
期刊簡(jiǎn)稱Pictures Without a W
影響因子2023?arko Pai?
視頻videohttp://file.papertrans.cn/151/150585/150585.mp4
發(fā)行地址Brings forth the idea that a new aesthetics must be understood as the construction of virtual worlds, not as a description of reality.Focuses on the radical transformation of metaphysics into cybernet
學(xué)科分類SpringerBriefs in Philosophy
圖書封面Titlebook: Aesthetics and the Iconoclasm of Contemporary Art; Pictures Without a W ?arko Pai? Book 2021 The Author(s), under exclusive license to Spri
影響因子.The main themes and aims of this book are understanding aesthetics, contemporary art and the end of the avant-garde not from the traditional viewpoint of the metaphysics of the beautiful and the sublime but rather thru close connection to the?techno-genesis of virtual worlds. This book tackles problems in contemporary art theory such as the?body?in space and time of digital technologies, along with other issues in visual studies and?image science.? Further intentions exhibit the fundamental reasons for the disappearance of the picture in the era of?virtual reality?starting from the notion of contemporary art as realized iconoclasm; art has no world for its "image". The author argues that the iconoclasm of?contemporary art?has severe consequences.? This text appeals to philosophers of art and those interested in contemporary art theory. .
Pindex Book 2021
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沙發(fā)
發(fā)表于 2025-3-21 22:18:44 | 只看該作者
Die Umsetzung: Ihr Buch entsteht,de in the realized space and the era of the technological environment. A picture without a world is nothing but an essential ontological definition of the events that determined the twentieth century—the emergence of the technosphere. When a technologically produced image dominates over language, ev
板凳
發(fā)表于 2025-3-22 00:28:31 | 只看該作者
Dienstleister publizieren Expertenwissen,cture no longer emerges as a reflection or appearance of objectivity. The iconoclasm of the avant-garde appears not as a mere protest against the appearance of the human body from aesthetics due to the impossibility of portraying a human figure in a new image of reality by the invention of photograp
地板
發(fā)表于 2025-3-22 05:22:42 | 只看該作者
Garant für Authentizit?t und Glaubwürdigkeiternet), as an autopoietic visual system. In this way, the world is understood pre-ontologically. The picture of a man on the scene precedes speech and text. It is an information-communication circuit. So, it is no longer mimetic or reflecting reality, nor representing a changed reality, but rather g
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發(fā)表于 2025-3-22 09:31:14 | 只看該作者
Brückenschlag in digitale Weltenopenness of the world as meaning, starting from the possibility of imitating something that can only be (re)presented in the equation between the ., the figure and the image. . thus (re)presents an existential event of novelty in the world. In Nancy’s narrative, it becomes abundantly clear that the
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發(fā)表于 2025-3-22 13:16:48 | 只看該作者
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發(fā)表于 2025-3-22 20:22:27 | 只看該作者
Brückenschlag in digitale Weltenpecially his oil painting . in 1931, and the conceptual works of the German artist Hanne Darboven. The time of surrealistic painting and the time of conceptual art (Dalí—Darboven) are two different times that arise from two different epochal features of the Being. In the former case, it is the disco
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發(fā)表于 2025-3-23 04:31:45 | 只看該作者
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發(fā)表于 2025-3-23 05:45:59 | 只看該作者
?arko Pai?Brings forth the idea that a new aesthetics must be understood as the construction of virtual worlds, not as a description of reality.Focuses on the radical transformation of metaphysics into cybernet
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