Cyberspace and the Aesthetics of Contemporary Perception

I hope this piece of writing would work for some people who are interested in witnessing the boundlessness of the world regardless they are studying science, art or philosophy and so on. Since the concept virtuality which is a main word through this dissertation is not a definition or explanation of a specific phenomenon but rather it is an attitude or flexible mind to approach many other concepts in the world. By sharing this collaborated idea from the different ages and places, I hope this tiny effort for collaborating the ideas would connect some relevant ideas beyond timespace because I also got influenced by the other people who have done this effort in various eras.

Meta: Research in Hermeneutics, Phenomenology, and Practical Philosophy, 2024

The inquiry that drives this article addresses the human need to understand how perceptual experience and interaction with images change with the transition from an analog mediation of reality to types of digitally mediated experiences. The purpose of this proposal is to investigate how human understanding of one's own corporality (cerebral/neurochemical, psychosomatic) expands at both endosomatic and exosomatic levels, as well as the exteriority in general (surrounding environment, other human or non-drawing on Bergson's and Deleuze's perspectives on the reality of the virtual. We will observe how the understanding that traditional phenomenology provides of virtuality changes with the emergence of the possibility to live experiences with an advanced degree of technological mediation, using social media networks, gaming, and immersive technologies (AR, VR, MR) as applied case studies.

2022

In this exchange between Davood Madadpoor, Katharina Ehrl, and Ali Eslami, Eslami delves into his ongoing project "False Mirror" and its implications for understanding the intersection of virtual reality, identity, memory, and artistic practice. He reflects on how "False Mirror" has evolved from a speculative future to a complex parallel world, intricately intertwined with his daily experiences. Through meticulous attention to detail and the exploration of memory within the virtual realm, Eslami challenges conventional notions of truth and expands the possibilities of artistic expression.

K. Tester & M. Hviid-Jacobsen (eds) Utopia: Social Theory and the Future. (Aldershot: Ashgate), 2012

The social, political, philosophical, literary and artistic imaginaries of Western culture have long had, as a recurrent preoccupation, a concern with the utopian. At different times, in different discursive modes, culture has by turns projected, speculated, promised, deconstructed and satirised a world, and a mode of human existence within that world, at odds with the lived reality of the moment. 'Utopian thinking' thus maintains a compelling hold upon the ways in which we individually and collectively conceive life and its possibilities, the ways we imagine past, present and future. Utopian thinking is always a projective and speculative endeavour in which the immediacy of the present ('what is') blurs and marries with 'what once was' and 'what might yet be'.

The schizophrenic modes of meaning-production for the virtual arise from it being an interstitial space that mediates instead of inertly connecting that which it signifies. Virtuality is a discursive formation rife with active and plural signification – signification that is constantly in flux. Lessig’s virtual Social Contract – or, Lex Informatica – is the code that would produce referentiality between sender and receiver when a digital object signifies through the virtual. Without the Lex Informatica, the virtual is corked. In oenology (or the study and science of wine and wine-making), “corking” is a process whereby a wine is said to go bad. Corking does not refer to a situation where particles of cork float in the wine, but rather where a natural fungi that may reside in cork, comes in contact with certain chlorides present in sterilization products used in wine-making. A chemical compound called TCA is produced (Gorman-McAdams). This “cork taint” chemical becomes an interstitial element for the wine and cork while redefining and controlling the meaning of each. Virtuality as semiosis - or the virtual as a semiotic spatiotemporal register - becomes the digital taint for a digital object’s machine meaning and meaning in language (the engineering register and linguistic register, respectively). Virtuality is a virulent “chemical” that brings about Chun’s “visual culture” and the fetish of “transparency”, but this virulence need not necessitate neo-luddite reactions. *Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.

Open Journal for Studies in Philosophy

The digital technology and the world of a virtual space by projecting them cardinal changed the face of the world. This widespread in varying degrees digital-virtual technology in modern society for nearly thirty years now, radically changed the society on a planetary scale, in various economic, political, social, legal, ethical, cultural, etc. perspectives. Indeed, to this day the world turns into a possible "togetherness" (with all possible "for" and "against" globalization)-the catalyst for this is digital, technical and technological boom. The whole boom in turn raises many questions mostly related to the source, which builds digital-technology "body" and its "life"-the human. What happened to his purely human body senses and what possible virtual or imaginary worlds hovers it? Here are a few thoughts as sketched lines in the first person singular, an essayistic-philosophical perspective on human senses and virtual. The "imperfect concurrency" ... for which we do not speak or do not think, but actually it is constituted direct and intentional phenomena of "stuff" into, within and out of the world. Moreover, we, humans, experience the world in narrow barriers of time in which there remains no reflects not seen, or rather not take very much of what happens in it. For virtual, fantasy and sensuality in touch for life. Unfortunately the humans in their existence increasingly trying to "numb themselves" rely on their eyes and ears, and to distance itself from their non-visual senses. For the loss of this ability or the need for feeling, for example, a touch of liveliness helps-contributes comparison of human, with residence and his communication in virtual space. The virtual creates the false illusion of a public (free-for-all) world, that is "with" and "together" us.

Empedocles: European Journal for the Philosophy of Communication , 2016

Jean Baudrillard sees in today’s simulation the model ‘of a real but without origin or reality: a hyperreal’. With the hyperreal, the individual is unable to distinguish what is real and what is not. In this article, I argue how the pervasiveness of media, in the form of mobile phones, tablets with their applications and social networking sites, singularly or in unison create and sustain the existence of the hyperreal. They succeed at once through an imagined call for urgency and an implosion of meaning that cannot be contained. This type of media is a priori a form of simulation, and has not only erased the boundaries that exit between the real and the unreal but has also developed as a site accountable for continual deference of the being-in-theworld, forcing on the latter a perpetual existence in the hyperreal.