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20 Oct 08

bitalizer: Bending bits into structure : by Brian Reavis

visualization of strings of bits

random.inwo.com/bitalizer - Preview

aesthetics newmedia artscience information aesthetics information visualization

18 Oct 08

web.without.words

webwithoutwords.com - Preview

web aesthetics design internet information aesthetics media newmedia visualization

10 Oct 08

"The End of Art" by Roger Kimball

Throughout modern history, the traditional link between beauty and art has gradually disappeared. This essay represents Kimball's ode to reinstall this link.

www.firstthings.com/article.php3 - Preview

art aesthetics religion critic theory culture

The subjugation of art—and of cultural life generally—to political ends has been one of the great spiritual tragedies of our age

11 Aug 08

The Product Space and The Wealth of Nations

also includes possibility of downloading the source data

www.chidalgo.com/productspace - Preview

nations wealth aesthetics data information industry media newmedia patterns society statistics visualization

03 Jun 08

Christian Schüle: A sight for sore eyes - signandsight

Analysis of myth surrounding the Neue Leibtziger Schüle

www.signandsight.com/...287.html - Preview

art culture critic painting aesthetics review

08 Apr 08

all manner of distractions » Blog Archive » Solar, with lyrics

www.flight404.com/blog - Preview

newmedia internet visualization aesthetics art

15 Mar 08

Crayon Physics Deluxe

draw shapes that become physical objects once drawn

www.kloonigames.com/crayon - Preview

aesthetics games newmedia videogames

22 Feb 08

Human Brain Cloud: massively multiplayer word association game

www.humanbraincloud.com - Preview

aesthetics design encyclopedia hypertext internet media newmedia visualization

18 Jan 08

Lev Manovich forthcoming book 'Info Aesthetics'

www.manovich.net/index.html - Preview

aesthetics art books culture design newmedia theory

detect
emerging aesthetics and computer-based cultural forms specific to information
society
systematic comparison of our own period with the beginning
of the 20th century when modernist artists created new aesthetics, new forms,
new representational techniques, and new symbols of industrial society
4 more annotations...
- if the shift from modernism to informationalism
- has been accompanied by a shift from form to information,
  can we reduce information to forms, meaningful to a human?
- Avant-garde as Software.” I first show that the 1920s
  avant-garde techniques became transformed into the conventions of modern human-computer
  interface and software, thus functioning as a foundation of post-industrial
  labor
- challenge before us is to figure out how to employ these tools to create
  new art; in short, how to interface them not to quantified data but to human
  experience, subjectivity and memory

14 Jan 08

Pictures of the Guggenheim Museum in Bilbao

architect = Frank Gehry

www.greatbuildings.com/...Guggenheim_Bilbao.html - Preview

aesthetics architecture art culture

30 Dec 07

The Work Of Art in the Age Of Digital Reproduction

cristine.org/...Davis_Essay.html - Preview

aesthetics art culture newmedia postmodernism theory

Peter Lyman
the cybernetic premise upon which computer
programs were based led inevitably to the centralization of control
1 more annotations...
- Here is where the aura
  resides. In the originality of the moment when we see, hear, read, repeat,
  revise. Not in the thing itself

29 Dec 07

'The Work of Art in the Age of Mechanical Reproduction' by Walter Benjamin

www.marxists.org/...benjamin.htm - Preview

aesthetics art culture newmedia philosophy theory

factors of movement which are in reality those of the camera, not to mention special camera angles, close-ups
the audience takes the position of the camera; its approach is that of testing
48 more annotations...
- First, process reproduction is more independent of the original than manual reproduction
- Secondly, technical reproduction can put the copy of the original into situations which would be out of reach for the original itself
- yet the quality of its presence is always depreciated
- The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced
- “aura”
- the technique of reproduction detaches the reproduced object from the domain of tradition
- By making many reproductions it substitutes a plurality of copies for a unique existence
- permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced
- intimately connected with the contemporary mass movements
- During long periods of history, the mode of human sense perception changes with humanity’s entire mode of existence. The manner in which human sense perception is organized, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well
- Riegl and Wickhoff
- if changes in the medium of contemporary perception can be comprehended as decay of the aura, it is possible to show its social causes
- the social bases of the contemporary decay of the aura
- related to the increasing significance of the masses in contemporary life
- the desire of contemporary masses to bring things “closer” spatially and humanly, which is just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction
- Uniqueness and permanence are as closely linked in the latter as are transitoriness and reproducibility in the former
- Thus is manifested in the field of perception what in the theoretical sphere is noticeable in the increasing importance of statistics
- The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition
- the unique value of the “authentic” work of art has its basis in ritual, the location of its original use value
- for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual
- But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics
- Works of art are received and valued on different planes. Two polar types stand out; with one, the accent is on the cult value; with the other, on the exhibition value of the work
- for the first time – and this is the effect of the film – man has to operate with his whole living person, yet forgoing its aura. For aura is tied to his presence; there can be no replica of it
- Consequently, the aura that envelops the actor vanishes, and with it the aura of the figure he portrays
- The stage actor identifies himself with the character of his role. The film actor very often is denied this opportunity
- Nothing more strikingly shows that art has left the realm of the “beautiful semblance” which, so far, had been taken to be the only sphere where art could thrive.
- feeling of strangeness that overcomes the actor before the camera
- basically of the same kind as the estrangement felt before one’s own image in the mirror. But now the reflected image has become separable, transportable
- Before the public
- consumers who constitute the market
- The cult of the movie star, fostered by the money of the film industry, preserves not the unique aura of the person but the “spell of the personality,” the phony spell of a commodity
- directives
- instructive to note how their desire to class the film among the “arts” forces these theoreticians to read ritual elements into it
- camera
- an increasing number of readers became writers
- the distinction between author and public is about to lose its basic character
- in the studio the mechanical equipment has penetrated so deeply into reality that its pure aspect freed from the foreign substance of equipment is the result of a special procedure, namely, the shooting by the specially adjusted camera and the mounting of the shot together with other similar ones.
- the sight of immediate reality has become an orchid in the land of technology
- for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment
- Mechanical reproduction of art changes the reaction of the masses toward art
- The progressive reaction is characterized by the direct, intimate fusion of visual and emotional enjoyment with the orientation of the expert
- great social significance
- greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public
- characteristics of the film
- manner in which
- man presents himself to mechanical equipment
- manner in which, by means of this apparatus, man can represent his
  environment
- Evidently a different
  nature opens itself to the camera than opens to the naked eye – if only because
  an unconsciously penetrated space is substituted for a space consciously
  explored by man

'Avant-Garde and Kitsch' by Clement Greenberg

www.sharecom.ca/...kitsch.html - Preview

aesthetics art culture history philosophy

Retiring from public altogether, the avant-garde
poet or artist sought to maintain the high level of his art by
both narrowing and raising it to the expression of an absolute
in which all relativities and contradictions would be either resolved
or beside the point
avant-garde
has arrived at "abstract" or "nonobjective"
art
31 more annotations...
- in search of the absolute
- Content
  is to be dissolved so completely into form that the work of art
  or literature cannot be reduced in whole or in part to anything
  not itself
- derive their chief inspiration
  from the medium they work in
- centered on the effort to create
  poetry and on the "moments" themselves of poetic conversion,
  rather than on experience to be converted into poetry
- reduction
  of experience to expression for the sake of expression, the expression
  mattering more than what is being expressed
- avant-garde
- rear-guard
- second new cultural phenomenon appeared in the industrial West
- Kitsch:
- product of the industrial revolution which urbanized
  the masses of Western Europe and America and established what
  is called universal literacy
- formal culture
- folk culture
- introduction of universal literacy
- ability to read
  and write
- minor skill
- no longer the exclusive concomitant of refined tastes
- peasants who settled in the cities
- To fill
  the demand of the new market, a new commodity was devised: ersatz
  culture, kitsch, destined for those who, insensible to the values
  of genuine culture, are hungry nevertheless for the diversion
  that only culture of some sort can provide
- Kitsch,
- Kitsch,
- Kitsch,
- academicized
  simulacra of genuine culture
- mechanical
- formulas.
- vicarious experience
- faked sensations
- demand nothing
- money
- except
- avant-garde imitates the processes of art, kitsch, we
  now see, imitates its effects
- encouragement of kitsch is merely
  another of the inexpensive ways in which totalitarian regimes
  seek to ingratiate themselves with their subjects

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Ruben Van Havermaet's Library tagged aesthetics → View Popular

bitalizer: Bending bits into structure : by Brian Reavis

web.without.words

"The End of Art" by Roger Kimball

The Product Space and The Wealth of Nations

Christian Schüle: A sight for sore eyes - signandsight

all manner of distractions » Blog Archive » Solar, with lyrics

Crayon Physics Deluxe

Human Brain Cloud: massively multiplayer word association game

Lev Manovich forthcoming book 'Info Aesthetics'

Pictures of the Guggenheim Museum in Bilbao

The Work Of Art in the Age Of Digital Reproduction

'The Work of Art in the Age of Mechanical Reproduction' by Walter Benjamin

'Avant-Garde and Kitsch' by Clement Greenberg

Selected Tags

Related Tags

Sponsored Links

Top Contributors

Groups interested in aesthetics

Music // Multiculti

Let's Manga

photography@ual

Databases

THEA 356 aesthetics

COGs E: Stage 2 - Products, Services & Systems