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Heidegger has notoriously named the essence of the technological world the Ge-stell (framework, enframing). Here, we reveal that yet another term, Gestellnis, figures in some of his writings from the 1970s. According to Heidegger, as the essence of the Ge-stell, Gestellnis shows a way toward the fore-garden of Ereignis (appropriating event). In opposing the Ge-stell mode of comportment toward beings, Heidegger glimpses the promise of the other thinking, which seems to be useless from the perspective of traditional metaphysical thinking. In characterizing this mode of thinking, he resorts to Zhuangzi's parables of uselessness (wuyong [TEXT NOT REPRODUCIBLE IN ASCII]). One way of stepping out of the Ge-stell is to make central the comportment toward beings as embodied in non-metaphysical art. Heidegger designates this as das andere Denken (the other thinking). In charting this course, Heidegger turns toward ancient Asian traditions insofar as they remain uncontaminated by current planetary-interstellar world conditions, which for him epitomize the absence of the dichotomy of appearance and essence. From Heidegger's standpoint, before the Western tradition gains maturity through its own self-transformation, the allegedly inevitable event of East-West dialogue can only be anticipated. However, at the ontic level East Asian sources have undeniably played a role in his search for ways out of the Ge-stell., Introduction Modern technology (Technik, la technique) has constituted the gears on which the wheels of the modern world keep turning. The later Heidegger devotes sustained reflection to this unprecedented phenomenon [...]

Developing the software and hardware for interactive installations and artificial perception systems for two decades. Canadian media artist David Rokeby has had much occasion to reflect upon the nature of [...]

1. We are not artists, and we are certainly not 'art critics.' We are producers, people who produce. We are Not authors either, for we believe that all ideas ON [...]

When I was nineteen years old I got the dream job of designing and building Muppets for Sesame Street. At the time, the company was still small and informal, but [...]

The philosophy of Paul Virilio, which questions of the benefits of contemporary techno-culture, is contrasted with that of Stelarc, whose performance art rejects metaphysical distinctions in favor of new technology.

Recordings are dominant modes of musical reception that substitute live musical performances. However, this does not mean that listening to recorded music is an aesthetically poor method in place of live performances. Although recorded music lacks the visual elements live performances provide,technology enables it to come as close to it audio-wise. This makes it important to develop and improve the technologies that diminish the quality of recordings over live performance.

Interactive music disks such as concerto-minus-one recordings and karaokes are designed and marketed to elicit participation from a user. It enables one to sing and perform, consequently providing him with an experience of vitality that promotes illusions. However, it is argued that recording processes of these works only permit certain details that causes them to lose their original beauty and sound. Hence, it is important to consider how this can affect arguments offered by critics.

Advertisers and entrepreneurs are extensively utilizing interactive technology to encourage consumers to purchase products and investors to engage in various ventures. Interactive technology is also an effective tool for artists through various media such as visual arts, dance, theater and music. To determine the significant effects of their interaction to the performing arts, there is a need to understand the concepts of performance. However, what a spectator perceives to be aesthetically important, still depends on his perspectives.

The special issue of The Journal of Aesthetics and Art Criticism presents essays and responses to the topic on 'Perspectives on the Arts and Technology'. It attempts to define art by contrasting it to technology, although the technologies presented are not up to date. The articles written about the arts and aesthetic elements do not only belong to the general perspective of art and scientific technology, but to their relationships with technology as well. Furthermore, it promotes active participation in the arts and aesthetic fields in order to develop effective approaches.

A work of art cannot be mechanically produced because it is partly defined as a product of human intentionality. Furthermore, the best art is singular, a unique object reflecting the individuality of its creator. Computer productions can have some aesthetic interest, just as objects in nature do, but not on the same level as true works of art. The emphasis on technical proficiency in modern civilization may thus lead to a loss of aesthetic taste and skill.

Engineers and artists work together to design and construct cost-effective infrastructures such as neighborhood parks, bridges, bike paths and solid-waste facilities. Phoenix, AZ, was the pioneer of this new trend to combine aesthetic and structural engineering, and several other cities followed this example. Phoenix's capital improvement plan suggests allotment of 1% of the capital budget to the artistic work in the infrastructure. Squaw Peak Parkway, Miramar Landfill in San Diego and the Wabasha bridge in St. Paul are a few constructions by the engineer-artist team.

An analysis of the 48th Venice Biennale is presented focusing on new media. Topics include technology, experimental artwork, photography, film, and video installations.

Stress is placed on the importance of studying, analyzing and conserving works of art in order to guarantee their survival for posterity. Technology is not only a cognitive medium of art, but also an inventive and creative medium. KEYWORDS: analysis and conservation of art, technology as a creative medium, reproduction, transversality

The shift of the meaning of the term 'technology' in America took place before 1930. Elements of the German discourse of Technik were incorporated into the English term 'technology' by American social scientists who changed its definition from the science or study of the useful arts to one that meant the industrial arts, including the material means of production.

The philosophy and art of circuit bending i.e. shorting out conventional electronic devices to reveal unexpected sound and music is described. The method of working and the wealth of instruments that have resulted are detailed.