Post-Internet Aesthetics

The Image Object Post Internet – “This PDF is to serve as an extended statement of artistic purpose and critique of our contemporary relation to objects and images in Post-Internet culture. More than anything, it poses a survey of contemplations and open questions on contemporary art and culture after the Internet.” http://jstchillin.org/artie/vierkant.html

 

122909a – “Post Internet” A Project of the Creative Capital | Andy Warhol Foundation Arts Writers Grant Program – http://122909a.com/

 

HYPERJUNK: OBSERVATIONS ON THE PROLIFERATION OF ONLINE GALLERIES “Recently the topic of online galleries and their proliferation in the past year has been on the tips of many tongues. Specifically, the argument involves a musing on how the development of online venues for showing net-based work is providing a fundamental shift in the paradigms of traditional art market systems…….”  http://badatsports.com/2012/hyperjunk-observations-on-the-proliferation-of-online-galleries/

 

“Editorials, presentations, shows and other reblogs”  http://r-u-ins.org/

 

“Pool is a platform dedicated to expanding and improving the discourse between online and offline realities and their cultural, societal and political impact on each other.” http://pooool.info/

 

“This book is a tool to assist in stepping above our daily online routine, to reach a realm that lies somewhere between reading a principal religious text, watching a colonial documentary on savages, or looking at yourself in the mirror. This is the space where we ask ourselves what it means to be a human being today.” http://katjanovi.net/postinternetsurvivalguide.html

 

“DIS is a fashion, art, and commerce publication that seeks to expand creative economies DIS does not distinguish between disciplines nor conform to aesthetic value systems. DIS explores the banality and novelty of product and image making. Updated on a constant basis, DIS Magazine is not issue-based: although issues are raised. These include but are not limited to distaste, dystopia, evolved lifestyles, new style options, disco, dysmorphia, and innumerable others. DIS is a collaborative project amongst artists, designers, stylists, writers, and friends.” dismagazine.com

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The New Aesthetic

The New Aesthetic: Seeing Like Digital Devices

Slowly, but increasingly definitively, our technologies and our devices are learning to see, to hear, to place themselves in the world. Phones know their location by GPS. Financial algorithms read the news and feed that knowledge back into the market. Everything has a camera in it. We are becoming acquainted with new ways of seeing: the Gods-eye view of satellites, the Kinect’s inside-out sense of the living room, the elevated car-sight of Google Street View, the facial obsessions of CCTV.

As a result, these new styles and senses recur in our art, our designs, and our products. The pixelation of low-resolution images, the rough yet distinct edges of 3D printing, the shifting layers of digital maps. In this session, the participants will give examples of these effects, products and artworks, and discuss the ways in which ways of seeing are increasingly transforming ways of making and doing.

For starters read this report (  http://booktwo.org/notebook/sxaesthetic/ )  from Austin, Texas by James Bridle  on the New Aesthetic panel at SXSW

Bruce Sterling wrote a fairly lengthy response here – http://www.wired.com/beyond_the_beyond/2012/04/an-essay-on-the-new-aesthetic/

And responses to Bruce Sterlings response by Marius Watz, Kyle Chayka, Jonathan Minard, Greg Boreinstein, James George and KyleMcDonald are here – http://thecreatorsproject.com/blog/in-response-to-bruce-sterlings-essay-on-the-new-aesthetic

Rhizome

Not-for-profit arts organization that supports and provides a platform for new media art.

http://rhizome.org/

Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. Through open platforms for exchange and collaboration, our website serves to encourage and expand the communities around these practices. Our programs, many of which happen online, include commissions, exhibitions, events, discussion, archives and portfolios. We support artists working at the furthest reaches of technological experimentation as well as those responding to the broader aesthetic and political implications of new tools and media. Our organizational voice draws attention to artists, their work, their perspectives and the complex interrelationships between technology, art and culture.

Also the home of ArtBase, a new media art archive  http://rhizome.org/artbase