Errors and manipulations of rhetoric and logical thinking

What is it that constitutes (a) post-digital art, and how can it be thought in terms of aesthetic theory – or even post-aesthetic theory?

In one sense, post-digital(1) refers to works that reject the hype of the so-called digital revolution.  The familiar digital tropes of purity, pristine sound and images and perfect copies are abandoned in favour of errors, glitches and artefacts.  And in another sense (as in the term post-modernism) it refers to the continuation or completion of that trajectory.  Post-digital music incudes a number of sub-genres: glitch, clicks & cuts, microsound, headphonics, etc.  All are, more or less, concerned with the foregrounding of the flaws inherent in digital processes. This valorisation of what previously would have been seen as noise: a by-product, bearing an external relation to the work, would be one of the characterising marks of a post-digital aesthetic.

The world’s smallest horse was born in late April on a farm in New Hampshire. Weighing in at 6 pounds at birth, Einstein appears to have beaten the previous record holder by three whole pounds.

But Einstein probably won’t hold his place in the Guinness Book of World Records forever, because there may be no limit to how tiny we can make our horses, said equine geneticist Samantha Brooks of Cornell University. But to get teacup horses will take many generations of breeding.

“In the last 50 years, breeders have made very good progress at making a very small horse, but they periodically hit these speed bumps,” said Brooks. “It takes a while to work them out so that you end up with a horse that not only fits in the palm of your hand but is happy and healthy.”

In recent years, the genetic underpinnings of height and size in mammals have generated increasing interest from scientists. In 2007, genetics researchers made the surprising finding that a single gene plays a very large role in reg

Manipulating Reality presents a selection of 23 artistic approaches that work through photography and video to develop possible models of reality. Its aim is not to understand whether photographs can convey reality but how this can occur. The works exhibited represent different artistic strategies addressing the construction, reflection or distortion of reality in images. In addition to investigating the value of documentary photography today, many of the artists presented reflect in part the conditions of the tool of photography and adopt known artistic techniques such as collage, presentation in model form, abstraction and the assemblage of different elements.