圖書館

摘要

THIS ESSAY PRESENTS A MAPPING OF THE HISTORICAL CONCEPTS THAT CONTRIBUTED TO THE EMERGENCE OF POST-DIGITAL AESTHETICS AND THEIR CONNECTIONS TO THE CONCEPT OF POST-MEDIA IN HISTORICAL TERMS. IT ALSO ANALYZES THE TRANSITION FROM TECHNO-POSITIVISM TO DISCOURSE OF RESISTANCE AGAINST THE EFFECTS OF THE CAPITAL TECHNOLOGICAL INDUSTRIAL COMPLEX AND HOW THESE ADVANCES IN TECHNOLOGY INFLUENCE ARTISTIC DISCOURSES, PRACTICES AND ARE THE LEVERAGE OF ART AND TECHNOLOGY WHICH IS NOTHING MORE THAN A REPRESENTATION OF THE AESTHETICS OF CAPITAL. FOLLOWING ART AND CAPITALISM AS AN IDEOLOGY OF INNOVATION. IS PROPOSED AN UNSTINTING THEORY ABOUT TECHNOLOGY, GEOLOGY, AND THE IMPORTANCE OF THESE CONDITIONS TO THE POST-DIGITAL AESTHETICS IN TERMS OF MATERIAL DISPONIBLE AND CONCEPTUAL ARTICULATION. PRODUCING A RECONFIGURATION OF THE POST-DIGITAL CONCEPTUAL APPROACH AS I PROPOSE BEYOND THE DYSFUNCTIONAL AESTHETICS AND CONNECTED WITH THE CONCEPT OF RADICAL ECOLOGY CENTERED IN THE USABILITY OF ELECTRONIC GARBAGE AND TECHNICAL OBSOLESCENT TECHNOLOGIES IN THE ARTS.