Speculative Aesthetics (Redactions)
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This series of interventions on the ramifications of Speculative Realism for aesthetics ranges from contemporary art's relation to the aesthetic, to accelerationism and abstraction, logic and design. From varied perspectives of philosophy, art and design, they examine the new technological mediations between the human sensorium and the planetary media network within which it now exists, and consider how the aesthetic enables new modes of knowledge by processing sensory data through symbolic formalisms and technological devices. 'Speculative Aesthetics' anticipates the possibility of a theory and practice no longer invested in the otherworldly promise of the aesthetic, but acknowledging the real force and traction of images in the world today, experimentally employing techniques of modelling, formalisation, and presentation so as to simultaneously engineer new domains of experience and map them through a recon-figured aesthetics that is inseparable from its sociotechnical conditions.
how experience is structured by various material regimes, from chemistry to digital media; and how these determinations are miscognized in received ideas of the ‘aesthetic’. This in turn gives onto the issues that arise from considering the structuring of the aesthetic as an act of political force, and its relation to subjectivation. As far from the idioms of the SR art genre as this may seem, speculative aesthetics here reaffirms a relation between the aesthetic and human creativity, but within
asserts a linguistic framework which functions as external scaffolding, extended memory, and a coordination of activity via extra control loops through brain-body-world. For Clark’s active externalism, a great many cognitive processes are external to the brain; ‘the real physical environment of printed words and symbols allows us to search, store, sequence, and reorganise data in ways alien to the onboard repertoire of the biological brain’.10 In this sense, the way in which syntactical
something to this same thought: ‘it is true that our loves repeat our feelings for the mother, but the latter themselves repeat still other loves, ones that we ourselves have not lived’.10 This is very much a Jungian inheritance. As Kerslake recalls, Jung talks about intuition in the human as ‘the irruption into consciousness of an unconscious content, a sudden idea, or “hunch”’, a process of ‘unconscious perception’ that owes precisely to this strange sympathetic community. The genius would be
nowhere really. Ray Brassier: I totally agree. Kant transforms the account of experience into one of cognitive experience—it becomes experience as a cognitive accomplishment, because experiences can be structured through judgement and through conceptual synthesis. So I think the point at which they manifest, some phenomenal level, some stratum of phenomenal experience, is indispensable. It’s possible to embrace it as a post-Kantian conception of phenomenology, which is that phenomenal
conflict to the fascination with the computer-generated image in an aesthetics of gaming technologies. In both cases the aesthetics of art enjoys producing a mythological association of technology with alterity, objectivity and neutrality. 3. The historical cultural critique of the dematerialization of the art object into or with ‘life’ stands as testament to this faith in invisibility. If the artwork can evade its promise of representation then so much the better—it has merged with ‘life’. This