After rigorous study of the Instant Art Critique Phrase Generator, I conclude that with regard to the issue of content, the disjunctive perturbation of the spatial relationships brings within the realm of discourse the distinctive formal juxtapositions. "The Instant Art Critique Phrase Generator" (Thanks, Terre Thamelitz!) Read the rest
Bruce Sterling's "An Essay on the New Aesthetic," is a dense, difficult, exciting critical look at the New Aesthetic, a kind of art movement centered in my neighbourhood in east London ("If you wanted a creative movement whose logo is a Predator supported by glossy, multicolored toy balloons, London would be its natural launchpad."). Sterling was set afire by a panel at SXSW this year, and hammered out this essay in response. It's part critique, part mash-note, and makes larger points about our relationship to machines and the aesthetics of their output ("an eruption of the digital into the physical").
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Look at those images objectively. Scarcely one of the real things in there would have made any sense to anyone in 1982, or even in 1992. People of those times would not have known what they were seeing with those New Aesthetic images. It’s the news, and it’s the truth.
Next, the New Aesthetic is culturally agnostic. Most anybody with a net connection ought to be able to see the New Aesthetic transpiring in real time. It is British in origin (more specifically, it’s part and parcel of region of London seething with creative atelier “tech houses”). However, it exists wherever there is satellite surveillance, locative mapping, smartphone photos, wifi coverage and Photoshop.
The New Aesthetic is comprehensible. It’s easier to perceive than, for instance, the “surrealism” of a fur-covered teacup. Your Mom could get it. It’s funny. It’s pop. It’s transgressive and punk. Parts of it are cute.
It’s also deep.