New Aesthetic

The New Aesthetic and critiques of digital dualism have much in common: they emerged in the same year; the nature of their conclusions are (partly) formed by the method of their construction – that is to say, they originated in the digital and as such are collaborative, speculative, and ongoing; and they both seem to spring from the close attention paid to the enticing bangs, whoops, and crashes issuing from the overlap of our digital and physical worlds. But more than this, I would argue that the two concepts are expressions of one another: it sometimes seems that New Aesthetic artwork is an illustration of digital dualist critiques; and likewise it is possible to read digital dualist critiques as descriptions of New Aesthetic artefacts.

This may appear an undeservedly grand claim, and it is certainly extremely speculative (the concepts involved are too varied and inchoate to ever be proper ‘expressions’ of one another). Nevertheless, as a comparison it does produce some interesting conclusions. Especially when we begin to consider what exactly it is that the New Aesthetic and ‘augmented reality’ theory have in common (I’m using the term  ‘augmented reality’ here as a broad label for thought that runs counter to strict digital dualism). In my own personal analysis the mechanism that links the pair is undoubtedly that of metaphor; that cognitive tool that provides us with mental purchase on abstract, complex concepts and systems. In this case the abstract system is none other than the digital world of the 21 st century. more...

In part 1 I opened with a run down of the different kinds of “digital divides” that dominate the public debate about low income access to technology. Digital divide rhetoric relies on a deficit model of connectivity. Everyone is compared against the richest of the rich western norm, and anything else is a hinderance. If you access Twitter via text message or rely on an internet cafe for regular internet access, your access is not considered different, unique, or efficient. Instead, these connections are marked as deficient and wanting. The influence of capitalist consumption might drive individuals to want nicer devices and faster connections, but who is to say faster, always on connections are the best connections? We should be looking for the benefits of accessing the net in public, or celebrating the creativity necessitated by brevity. In short, what kinds of digital connectivity are western writers totally blind to seeing? The digital divide has more to do with our definitions of the digital, than actual divides in access. What we recognize as digital informs our critiques of technology and extends beyond access concerns and into the realms of aesthetics, literature and society. I think it is safe to say that most readers of this blog think they know better: Fetishizing the real is for suckers. The New Aesthetic, a nascent artistic network, is all about crossing the boarder between the offline and the online. Pixelated paint jobs confuse computer scanners and malfunctioning label makers print code on Levis. The future isn’t rocket-powered, its pixelated. Just as the rocket-fueled future of the 50s was painstakingly crafted by cold warriors, the New Aesthetic of today is the product of a very particular worldview. The New Aesthetic needs to be situated within its global context and reconsidered as the product of just one kind of future. more...

I want to start out by saying that “liberatory” is not in the standard OS X spell check dictionary. There aren’t even spelling suggestions. It is totally foreign. I think that’s telling. Also, our blog’s CSS prevents us from giving our entries long titles. The Title is part of the story, so let me put it in a more readable format:

Black Box Tactics: The Liberatory Potential of Obscuring The Inner Workings of Technology

There we go. Now where was I? Oh right, I haven’t started yet. Let me do that: more...

This is a video from a talk given by James Bridle, one of the main forces behind the New Aesthetic Blog, about the ways in which he is seeing the collision between machine and human happen, and the transformations which are being brought to by it society.

I have to say that it is pretty phenomenal, and touches on some of the aspects already talked about on this blog. For example Bridle touches briefly on the phenomena of documentary vision, which has been discussed extensively on this site, just after the 30 minute mark of the talk.

While some aspect of a digital dualism is still present in the language of the talk, the references to real as dichotomous with digital (which may be inevitable in trying to talk about these things), I still think that Bridle covers an amazing breadth of ways in which the digital and physical are bleeding into each other and collapsing any reasonable difference between the two. He really highlights, and shows, how humans are developing ways of seeing which are dependent on our technology, on the ways which are machines see. As well as how the machines are developing ways of seeing which are dependent on our own naturalized concepts of vision and perception, they are learning to see like us.

I think this is an important aspect of the entire cyborgology exercise. That we are developing characteristics which are influenced by our machines and technology (and that we always have), and that our technology also develops characteristics which are like us. I think it further breaks down the divide between ‘real’ and ‘virtual’, and shows how person and machine merge into a social space made up of equal parts of both.

All in all it is a really excellent talk, and well worth watching. I felt as though it absolutely needed  to be shared here.