The New Aesthetic concerns itself with “an eruption of the digital into the physical.”
The New Aesthetic is moving out of its original discovery phase, and into a evangelical, podium-pounding phase.
The New Aesthetic has the “scenius” of London’s Silicon Roundabout to support it.
I must try to explain the New Aesthetic to a wondering mankind
The “New Aesthetic” is a native product of modern network culture.
The New Aesthetic is a “theory object” and a “shareable concept.”
The New Aesthetic is “collectively intelligent.”
It is rhizomatic,
It’s open-sourced, and triumph-of-amateurs.
Above all, the New Aesthetic is telling the truth.
It’s the news, and it’s the truth.
the New Aesthetic is culturally agnostic.
The New Aesthetic is comprehensible.
The New Aesthetic carries a severe, involved air of Pynchonian erudition.
It’s temporal rather than atemporal.
The New Aesthetic is very hands-on, immediate, grainy and evidence-based.
Its core is a catalogue of visible glitches in the here-and-now, for the here and for the now.
It requires close attention.
The New Aesthetic is inherently modish
The New Aesthetic is constructive.
It’s built by and for working creatives.
It is generational.
It is a fresh and different thing.
It’s an avant-garde,
the New Aesthetic is a gaudy, network-assembled heap.
It assails critics like Walter Benjamin, rather than Walter Benjamin’s hapless artists.
The New Aesthetic is a rather old, and hearteningly traditional, story about a regional, generational cluster of creative people who are perceiving important stuff that other, older, and dumber people don’t get quite yet.
It’s a typical avant-garde art movement that has arisen within a modern network society
It’s a lure and a snare.
The true problem with the New Aesthetic is that it truly is a new aesthetic.
It has to become one, even if it doesn’t much want to be one.
The New Aesthetic is gooey all over with noosphere sauce.
The New Aesthetic is a genuine aesthetic movement with a weak aesthetic metaphysics.
It’s not their fault.
It’s our fault for pretending otherwise, for fooling ourselves, for projecting our own qualities onto phenomena that we built, that are very interesting to us, but not at all like us.
The New Aesthetic dusts off the Turing Test in a new Super Mario robot-vision guise, but it can’t get away with that attention-compelling metaphysical maneuver.
So the New Aesthetic is really a design-fiction, it’s a postulated creative position.
it’s a hoax, a put-on.
CERN built it, we live it now.
It was exciting because it touched something new, true and real.
the New Aesthetic is trying to hack a modern aesthetic, instead of thinking hard enough and working hard enough to build one.
That is my thesis; that’s why I think this matters.
“…maybe we should call it “ironic racism.” It’s a distancing gesture, racism with the acknowledgment that I should know better and I don’t care. Assiduously casual, meant to demonstrate a kind of worldliness or edginess, “hipster racism” acts like a behavioral flannel jacket or a trucker cap, a rejection of perceived upper-middle-class values, still wrapped in enough layers of irony to create a distance from the mythical rednecks or hillbillies it’s thought to be emulating. Whether or not the hipster racist “actually believes” the bullshit he spouts (or thinks it’s some kind of sophisticated satire) is immaterial; it’s a posture, a performance…”—http://gawker.com/5903468/a-girls-writers-ironic-racism-and-other-white-people-problems