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Since technology transformed itself into something uncanny what determines human civilization from modern times, nature has already transformed into a pure technological creation. The time of contemporary art corresponds to everything that quantum mechanics has set up based on the new understanding of the universe. From artworks of John Cage, Samuel Beckett, and Maurice Blanchot to performative-conceptual artworks of Stelarc and Ken Rinaldo, we are permanently witnessing the inability to return to the “aesthetics of stability” of the world. The whole circuit within cybernetic self-development, self-turn around, and self-organization of technosphere is reduced to three key theoretical concepts and paradigms of contemporary research in the field of A-intelligence, A-emotion, and A-intuition. Those are (1) contingency; (2) singularity; and (3) emergent chaos. Unlike technique that belongs to the mechanical perception of nature as a machine of organic world reproduction, a technology that in the modern era enters the field of semi-automatic and automatic mode of machine operation, in the age of technosphere, we are faced with the transfer to telepresence spaces (Marvin Minsky) and tele-existence (Susumu Tachi). Information transfer and manage remote systems by means of code become the condition of possibility of interaction in the technical world. If the question of ontology has been focused on the object and its idea of autonomy, then it is obvious that it could not be “the one” facility with which it dealt concerning the metaphysics of subjectivity from Descartes to psychoanalysis. It is an object or thing that thinks in a completely distinctive way, unlike human thought. For that reason, instead of the “embodiment”, it carries out the function of “embeddement”.


synaesthetic, body, technosphere, Stelarc, Rinaldo, singularity, interaction

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