L'émergence d'une Nouvelle esthétique

Depuis une dizaine de mois, nous observons une certaine effervescence réflexive autour de la Nouvelle esthétique des pratiques numériques émergentes, voire de la migration, de la numérisation sociétale des plus actuelles. Toutefois, bien peu d'essais proposent une analyse en profondeur du fondement et des enjeux propres à ce langage visuel, éventuellement polysensoriel.

Voilà enfin l'amorce d'une véritable réflexion sur le sujet par Stunlaw :
The ‘New Aesthetic’ is an aesthetic that revels in seeing the grain of computation (Jones 2011), or perhaps better, seeing the limitations or digital artefacts of a kind of digital glitch, sometimes called the ‘aesthetic of failure’. Indeed, the debate on the aesthetic of digital code has been predominantly focused, on the non-representational and non-functional performativity of coding and its infinite possible infractions (errors, glitches and noise), emphasising that it is precisely these infractions that give code its real aesthetic value… [or] the sensorial alterations or affects produced by technology on the human body-subject (Parisi and Portanova 2012).
L'auteur poursuit :
I started noticing things like this in the world. This is a cushion on sale in a furniture store that’s pixelated. This is a strange thing. This is a look, a style, a pattern that didn’t previously exist in the real world. It’s something that’s come out of digital. It’s come out of a digital way of seeing, that represents things in this form. The real world doesn’t, or at least didn’t, have a grain that looks like this. But you start to see it everywhere when you start looking for it. It’s very pervasive. It seems like a style, a thing, and we have to look at where that style came from, and what it means, possibly. Previously things that would have been gingham or lacy patterns and this kind of thing is suddenly pixelated. Where does that come from? What’s that all about? (Bridle 2011a).
 

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