For a mixed reality Aesthetics Marina Abramović and the immersive philosophy

Autori/Autrici

  • Alberto Simonetti Università di Perugi`a

DOI:

https://doi.org/10.54103/2039-9251/27837

Abstract

The paper intends to reflect on the function of digital technology within the field of aesthetics. Through Marina Abramović’s work The Life (2019) the aim is to rethink the relationship between the artistic object and subjective consciousness in a phenomenological key. The Serbian artist’s work uses the innovative and original technique of mixed reality; this new horizon leads to new philosophical frontiers relating to the perception of the body, experience (Erlebnis), experience and intuition. We will try to focus attention on the relationship between virtuality and reality by comparing mixed reality with purely virtual reality and augmented reality. Even the relationship with the public and the spectator is defined from a different, broader point of view in which the experience of the artistic object becomes a philosophically immersive experience. The presence-absence of the artist expresses the new aesthetic horizons supported by digital, opening up to a series of problems which, especially in the phenomenological field, mark the current debate.

Downloads

I dati di download non sono ancora disponibili.

Riferimenti bibliografici

Abramović M., Interview about The Life, 2024.

Abramović M., Walk Through Walls: A Memoir, Crown Archetype, New York 2016.

Benjamin W., The Work of Art in the Age of Its Technological Reproducibility (1936), The Belknap Press of Harvard University Press, Cambridge-London 2008.

Champion E., The Phenomenology of Real and Virtual Places, Routledge, London-New York 2019.

Danto A.C., Danger and disturbation: the art of Marina Abramović, in Marina Abramović The Artist is Present, exhibition catalogue The Artist is Present (New York, Moma 2010), edited by Klaus Biesenbach, The Museum. of Modern Art, New York 2010.

Dixon, S., Digital Performance, The MIT Press, Cambridge-Massachusetts, London, 2007.

Deleuze G., Proust and Signs (1966), University of Minnesota Press edition, Minneapolis 2000.

Eckert T., Presentation interview of The Life.

Geniusas S., Phenomonology of productive imagination, Columbia University Press, New York 2022.

Goldberg S., Space as praxis, in “Studio International”, September/October 1975.

Hansen, M. B.N., Bodies in Code. Interfaces with digital media, Routledge, New York-London 2006.

Husserl E., Ideas pertaining to a pure phenomenology and to a phenomenological philosophy (1913), Kluver Academic Publisher, Hingham (Massachusetts) 1982.

Husserl, E., Cartesian Meditations, The Hague: Martinus Nijhoff, 1967

Idhe D., Philosophy of Technology. An Introduction, Paragon House Publishers, St. Paul (Minnesota) 1993.

Kozel S., Closer: Performance, Technologies, Phenomenology, The MIT Press, Boston 2008.

Locke P., Cézanne, Merleau-Ponty, and Questions for Augmented Reality in E. Champion, The Phenomenology of Real and Virtual Places, Routledge, London-New York 2019.

Merleau-Ponty M., Phenomenology of Perception (1945), Routledge, London-New York 2012.

Montani, P., Emozioni dell’intelligenza. Un percorso nel sensorio digitale, Meltemi Editore, Roma 2020.

O’Shiel D., The Phenomenology of Virtual Technology, Bloomsbury, London 2022.

Rousseaux F., Phenomenological Issues in Virtual Reality: Technical Gestures Directed Like Virtual Pieces of Performing Art in Studia Universitatis Babeş-Bolyai-Philosophia. Dossier Phenomenology of Digital Technologies, year LV, n. 3/2010, Cluj-Napoca 2010.

Textor M., The Austrian Contribution to Analytic Philosophy, Routledge, London 2006.

Westcott J., When Marina Abramović Dies: A Biography, MIT, Cambridge 2010.

Wiesing, L., The Philosophy of Perception: Phenomenology and Image Theory, translate by N.A. Roth, Bloomsbury USA Academic, New York 2014.

Pubblicato

2024-12-31

Come citare

Simonetti, A. (2024). For a mixed reality Aesthetics Marina Abramović and the immersive philosophy. Itinera, (28). https://doi.org/10.54103/2039-9251/27837