(in)Tangible Now : Phenomenal Aesthetics & The Post-Representational Subject

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(in)Tangible Now : Phenomenal Aesthetics & The Post-Representational Subject by Mind Map: (in)Tangible Now : Phenomenal Aesthetics & The Post-Representational Subject

1. Listening Post (Ben Rubin, Mark Hansen (2002)

2. reCAPTCHA

2.1. We believe the results presented here are part of a proof of concept of a more general idea: “Wasted” human processing power can be harnessed to solve problems that computers cannot yet solve. Some have referred to this idea as “human computation.” (reCAPTCHA: Human-Based Character Recognition via Web Security Measures": 1467)

3. The Sheep Market (Aaron Koblin (2006)

4. Journey (That Game Company 2011)

5. Evoke (Usman Haque, 2007)

6. We Feel Fine (Jonathan Harris, Sep Kamvar, 2006)

7. Jack Burnham

7.1. The Future of Responsive Systems in Art

8. Graduate Seminar in Art - Spring 2012

9. plural consciousness

10. subject/object

11. Maurice Merleau-Ponty

11.1. "l'entourage" : (the setting)

11.2. "I am no more aware of being the true subject of my sensation than of my birth or my death" (Phenomenology: 215)

11.3. The Primacy of Perception (1964)

12. post-representational art

13. "just-in-time" production

14. crowd authorship

15. system aesthetics

15.1. LINK: The Future of Responsive Systems in Art

15.2. Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century (Jack Burnham, 1968)

16. subjectivity

17. Bruno Latour

17.1. actor-network theory

17.1.1. "Mediators transform, translate, distort, and modify the meaning or the elements they are supposed to carry"

18. Walter Benjamin

18.1. reproducibility

18.2. "... process reproduction is more independent of the original than manual reproduction. For example, in photography, process reproduction can bring out those aspects of the original that are unattainable to the naked eye yet accessible to the lens, which is adjustable and chooses its angle at will. And photographic reproduction, with the aid of certain processes, such as enlargement or slow motion, can capture images which escape natural vision." (The Work of Art in the Age of Mechanical Reproduction, 1936)

18.3. The Work of Art in the Age of Mechanical Reproduction

19. Paolo Virno

19.1. A Grammar of the Multitude

19.2. "Multitude signifies: plurality–literally: being-many–as a lasting form of the scoial and political existence, as opposed to the cohesive unity of the people. Thus, multitude consists of a network of individuals; the many are a singularity: (A Grammar of the Multitude: 76)

20. Nicholas Bourriad

20.1. "the artwork is thus no longer presented to be consumed within a monumental time frame and open for a universal public; rather it elapses within a factual time, for an audience summonded by the artist." (Relational Aesthetics: 29)

20.2. "Otherwise put, the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist." (Relational Aesthetics: 13)

21. I/eye

22. human computation

22.1. Luis von Ahn

22.2. http://books.google.com/

23. empathy

24. Stephanie Owens, Visiting Associate Professor, Art

25. 01

25.1. perceiver/perceived

25.2. subject/object

25.3. material/sign

25.4. us/them

25.5. form/content

25.6. internal/external

25.7. - / +

26. Arjun Appadurai

26.1. global modernity

26.2. Modernity At Large

27. Nigel Thrift

27.1. non-representational theory

28. Paul Virilio

28.1. The Aesthetics of Disappearance

28.2. The Lost Dimension

29. Roy Ascott

30. Jean Baudrillard

30.1. Simulacra and Simulation