"The New Aesthetic is not a movement, it is not a thing which can be done. It is a series of artefacts of the heterogeneous network, which recognises differences, the gaps in our distant but overlapping realities.
The New Aesthetic is a term, coined by James Bridle, used to refer to the increasing appearance of the visual language of digital technology and the Internet in the physical world, and the blending of virtual and physical."
"If Postmodernism rejects the functionally-driven design of Modernism, the New Aesthetic is a "Semimodernism": it embraces the formal results of functional design but ignores the motivation." - Kyle McDonald
"is a metaphysical movement that rejects the privileging of human existence over the existence of nonhuman objects. Specifically, object-oriented ontology opposes the anthropocentrism of Immanuel Kant's Copernican Revolution, whereby objects are said to conform to the mind of the subject and, in turn, become products of human cognition. In contrast to Kant's view, object-oriented philosophers maintain that objects exist independently of human perception and are not ontologically exhausted by their relations with humans or other objects"
The Image of the Object Post Internet – Artie Vierkant
"Under McHugh's definition it concerns “art responding to [a condition] described as 'Post Internet'–when the Internet is less a novelty and more a banality. Perhaps ... closer to what Guthrie Lonergan described as 'Internet Aware'–or when the photo of the art object is more widely dispersed [&] viewed than the object itself.” "
"Post-Internet is defined as a result of the contemporary moment: inherently informed by ubiquitous authorship, the development of attention as currency, the collapse of physical space in networked culture, and the infinite reproducibility and mutability of digital materials. "
"To be “progressive” in art is a fundamental impulse which which seems to pervade the majority of our judgements of the quality of art propositions. This leads to the use of such terms as the “avant-garde,” which in the twentieth century held as its central project the delineation of a cultural space for art to occupy in relation to “mass media.” However the nature of mass media is now profoundly different, in that we are both its subject and the engine behind it."
"Over time this spread and democratization of image and object production tools has led to a perpetual iconoclasm, each successive volley of formats breeding a new dogma and its own particular set of aesthetic principles. Hyperreal tableau photography gives way to the fetishized imperfection of the polaroid, tape hiss is abandoned for ironic autotuning, &c"
"While art may no longer have to contend with an idea of “mass media” as a fixed, monolithic system, instead it must now deal with both itself and culture at large as a constellation of diverging communities, each fixated on propagating and preserving itself."