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{"references": ["Deleuze, G. (1998). Nietzsche y la filosof\u00eda. Anagrama.", "Deleuze, G. y Guattari, F. (2010). Mil mesetas. Capitalismo y esquizofrenia. Pre-Textos.", "England, S., Schiphorst, T. y Bryan-Kinns, N. (2016). Curating the Digital. Space for Art and Interaction. Springer.", "Foucault, M. (2010). Obras esenciales. Paid\u00f3s.", "Ginsberg, A. (2011). Aullido. Anagrama.", "Harrison, Ch. y Wood, P. (2007). Art in Theory 1900-2000. An Anthology of Changing Ideas. Blackwell.", "ISEA. (2011). ISEA2011, the 17th International Symposium on Electronic Art. Sabanci University, Leonardo/ISAST, Goldsmiths College, University of London.", "Nietzsche, F. (2000). Aurora. El Anticristo. Libsa.", "_________ . (2010). El nacimiento de la tragedia. El caminante y su sombra. La ciencia jovial. Gredos.", "_________ . (2008). Fragmentos p\u00f3stumos III. Anaya.", "Paz, O. (1994) Excursiones/Incursiones. Dominio extranjero. Obras completas. Fondo de Cultura Econ\u00f3mica."]}
El artículo explora, a partir de la idea de “nuevo infinito” de Nietzsche, las propiedades del espacio y el tiempo contemporáneo en los discursos estéticos. Asimismo, aborda la poética del virus como infección y las estrategias que le corresponden. The article explores, based on Nietzsche's idea of "new infinity", the properties of contemporary space and time in aesthetic discourses. Likewise, it addresses the poetics of the virus as an infection and the strategies that correspond to it.
Contemporary Aesthetic, Postpresente, Estéticas contemporáneas, Poetics, postpresent, Poética, Virus
Contemporary Aesthetic, Postpresente, Estéticas contemporáneas, Poetics, postpresent, Poética, Virus
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