The New Aesthetic and Art: Constellations of the Postdigital

In citing Schopenhauer, Hepburn recognizes the strong appeal that disinterestedness has in overcoming the forces of the everyday, interested world-narrowly self-seeking, anxious, and turbulent. It is, put directly, a precious alternative to and an escape from that world, an evasion it would be sad to lose. Aesthetic engagement offers us an alternative to that violent but mundane world but not one that separates us from it. Engaging in the many and various worlds of art is no escape but an entry through magic casements into new and sometimes important regions of experience. Engagement rather forces us to confront that world as it is presented to us in the arts and impels us to seek to change what is avoidable. In that way, the theory becomes an instrument for betterment, not only because is it unrelentingly direct but because it contains a vision of reconciliation and harmony.

wired an essay on the new aesthetic isb …

12/06/2017 · The essay he wrote in 2012, on the New Aesthetic, ..

The Genius and the Algorithm: Reflections on the New Aesthetic …

You'll find no such gripes or hopes in James Bridle's modest microblog "The New Aesthetic," which has recently enjoyed considerable attention thanks to conference, by Bruce Sterling, and at The Creators Project--not to mention dozens more replies all around the web.

An Essay on the New Aesthetic, Beyond the Beyond [WIRED blog] 2 April

Recent noise and attention notwithstanding, compare on the New Aesthetic to Marinetti's feverish immodesty. "We want to glorify war," the latter writes, still proudly ignorant of the Great War that would turn the Dadaists against art entirely. Bridle, by contrast, doesn't exalt or rebuff, but opens up a file folder: "For a while now, I've been collecting images and things that seem to approach a new aesthetic of the future."

An Essay on the New Aesthetic.
Bruce Sterling sat in on a SxSW panel on The New Aesthetic, and has a lot of observations:

An Essay on the New Aesthetic | WIRED 2012.

Arnold Berleant draws attention critically to places where I speak of concepts, categories, rational discrimination among genres and traditions-as involved in aesthetic appreciation, as internal to it. For my part, I cannot see that as part of a "distancing" process in a bad sense, the outworking of an inappropriately rationalistic mind-set that allegedly goes with a "disinterested" approach to aesthetic experience. I allow that, very occasionally (and very briefly), we may have a purely sensuous, uninterpreted, experience: but immensely more often interpretative concepts are at work helping to constitute our aesthetic experience, even if not all their work is explicit and verbalized. They ask and answer the questions we need in order to orientate ourselves with regard to our object of experience. For instance, "Is this item a piece of nature or an artefact?" I shall experience it differently, depending on which I decide it is. Or again, I can't avoid (ought not to avoid) asking, "Is this essay [or piece of music, or painting] ?" Or: "Is this reworking of an ancient myth turning out to be an entertaining but superficial fantasy, or a serious thinking-through of the human situation today?" Questions like these and their answers are important elements in the constructing of our appreciative experience; they are not added as an inessential (rationalistic) supplement.

The Genius and the Algorithm: Reflections on the New Aesthetic as a Computer’s Vision

Aestheticization of violence - Wikipedia

In other words, one's first aesthetic obligation, in considering any part of a work of art, is to take its bearings, to grasp its place, its meaning, its emotional qualities, in relation to the rest of that art-work on which one is concentrating. (That is not to deny that the work as a whole may well be related additionally to the world beyond it, on which it may comment.) Art-works, then, are not, so to speak, wired directly into the system of my desires, longings and satisfactions. There surely is some "standing back" here; at least enough to allow me to bring into a synthesis, a single grasp, what is often a multitude of interdependent components.

In this second Flux Death Match, our panelists will argue over The New Aesthetic ..

Emotions, values, and aesthetic perception - ScienceDirect

You know that art has changed when a new aesthetic movement announces itself not with a manifesto, but with . Manifestos offer their grievances and demands plainly, all at once, on a single page--not in many hundred entries. "Literature has up to now magnified pensive immobility, ecstasy, and slumber," wrote Filippo Marinetti in his 1909 Futurist Manifesto. "We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist." The stakes are clear: out with idleness and chatter, in with speed and violence.