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ISBN-10: 073917374X

ISBN-13: 9780739173749

The subject matter of Aesthetics in current Future matters the recent possibilities the humanities have and the deep alterations they're present process, end result of the new media, and the electronic international during which we're growingly immersed.

That this international is to be understood from a classy perspective, turn into transparent if we expect of the way a lot of what we produce, and detect and learn is accessible via pictures particularly and perceptual skill normally.

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One place to see the hip-hop collage aesthetic collide with post-Napster file sharing is the phenomenon of the mash-up. Mash-ups meld two or more recordings into a new entity, famously done by Danger Mouse’s mash-up of the Beatles’ White Album, a defining work of the 1960s’ rock era, with Jay Z’s rap epic The Black Album (2003) to create The Grey Album (2005). The result was widely distributed because of the Web, file sharing, and the proliferation of sound and image editing tools. The ability to download vast archives of music, whether accessed legally or (more likely) illegally, allowed for an explosion of mash-ups.

Often laid out on the unfolded polyhedron of Fuller’s own Dymaxion map, the game used a synergistic rather than competitive play strategy to determine ways to best harness the natural resources of the planet. Fuller’s map gives a better sense of the relative sizes of the continents than the usual Mercator projections, and even more subversively does not have a natural “up” or “down” that de-privileges people’s usual expectations of maps and the sense of space that they project. ” The World Game was a product of postscarcity thinking and 1960s utopianism, played without benefit of networks and computer simulations, but its essential message—that humans working together have the potential to craft a better world—resonates, and more than ever looks like a prototype for the networked effects of simulation and participation.

Artistic artifacts create shared emotional states in groups of robots that allow the robots to better coordinate among themselves and to make the behavior of the other robots more predictable. 5. Exposing oneself to artistic artifacts makes a robot emotionally more sophisticated—that is, more responsive to its own emotional states and to the emotional states of others. 32 These are all hypotheses about the origin of art in humans and, of course, they are not mutually exclusive hypotheses. To test these hypotheses we should construct robots that incorporate these hypotheses and see if our robots develop the behavior of constructing artistic artifacts and of exposing themselves to these artifacts.

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Aesthetics in Present Future: The Arts and the Technological Horizon

by Donald

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