The New Aesthetic and critiques of digital dualism have much in common: they emerged in the same year; the nature of their conclusions are (partly) formed by the method of their construction – that is to say, they originated in the digital and as such are collaborative, speculative, and ongoing; and they both seem to spring from the close attention paid to the enticing bangs, whoops, and crashes issuing from the overlap of our digital and physical worlds. But more than this, I would argue that the two concepts are expressions of one another: it sometimes seems that New Aesthetic artwork is an illustration of digital dualist critiques; and likewise it is possible to read digital dualist critiques as descriptions of New Aesthetic artefacts.
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