By S. Broadhurst
This name bargains perception right into a variety of paintings and function practices that experience emerged consequently a extra technological international. those practices are fundamental to replacement and mainstream functionality tradition and the writer explores their aesthetic theorisation and analyses different methods, together with these provided by way of learn into neuroesthetics.
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Additional info for Digital Practices: Aesthetic and Neuroesthetic Approaches to Performance and Technology
I was suggesting that a (discursive) principle of readability and a (figural) principle of unreadability shared one in the other’ (Lyotard 1984, 17). Lyotard, in his approach, is critical of both phenomenological and structuralist approaches to meaning whilst continuing to utilize their theoretical tools. For Lyotard, the phenomenological project is ‘fundamentally contradictory’ in its effort to capture a pre-linguistic world due to its designation of a ‘pre-logical signified’ which in being itself is forever incomplete, as it is dialectically referred back from being to meaning by way of ‘intentional analysis’ (1971, 44).
A distinction interrogated by Derrida who noted that de Saussure et al. had utilized a notion of idiomatic writing that attempted to deny all complexities, writing being seen as a merely graphic device that supported speech. Differance is not simply deferring because an act of delay does not necessarily entail a movement of difference. Therefore, together with deferring, differance implies difference; at the same time Derrida’s concern with phonocentrism is highlighted since differance although sounding identical to difference, when spoken, is not the same when written (in French the verb différer means to both differ and defer).
One being determined by linguistic-philosophical closure and the other, the ‘figural’, being indeterminate and ‘disruptive of discursive systems and destructive of signification in general, a radical exteriority to discourse, 26 Digital Practices what discourse is unable to say’ (Carroll 1987, 30). Instead of a conceptual interpretation of meaning there are flows and drives of ‘intensities’ which continually displace the identity of the reader (or spectator). The aim is to eliminate oppositions in favour of intensities and it is useful in a description of such digital practices as Stelarc’s Fractal Flesh and Ping Body (1995–8), Troika Ranch’s digitally interactive dance theatre, and the Star Wars prequels, where their diverse elements often escape meaningful interpretation.