Brad likes this /:b
On Thu, 19 Apr 2012, mez breeze wrote: > ----------------------------------------------------------------------------------------------------------------------------------------------------------------------- > Find below a modded version of part of the discussion raging on an > alternate list regarding the "New Aesthetic". Enjoy [or don't]. > ------------------------------------------------------------------------------------------------------------------------------------------------------------------------ > > > In an effort to keep this manageable [lump me into one of your keeerazzzy > glitch/net.art/web-point- > infinity/relational & new aesthetically-defined "artistic" categories if > you will] here's some [non-random + IMO relevant but not necessarily > cohesive] points: > > 1. I've only skimmed the Bruce Sterling essays [both of them] and don't > have an in-depth overview of the term "New Aesthetic" [henceforth now to be > known as "Phrase That Will Not Be Named" in an effort to reduce the > ridiculous amount of verification we are bubble-developing around it]. So > there. > > 2. My flickering attention-focus [hullo, continuous partial attn syndrome] > has honed in on this particular attempt at avant-garde labelling because of > how it perpetuates the tradition of "name the new art phase in order to > perform/get x" [whether x = ego aggrandisement/monetary wealth/extend an > individuals prosperity>cred value]. To employ a relevant phrase: it just > smells wrong. And by smelling wrong I'm in no way referring to Bridle or > his content [I have been rss_internalising his tumblr for some time now = > it rawks: though I had no idea of his name until this whole labelling > blerghness blew up] or any other glitch-luvin' practitioners or creative > types. After all, I'm one of them. > > 3. My seeming lack of attention to research regarding the "Phrase That Will > Not Be Named", or lack of "deep (articulated) thought" regarding the issue > isn't indicative of a negative outlook on "the glitch". Nor is it due to > lack of engagement with the actual material/pulsing creative output that's > [possibly, hopefully] superseding many flattened contemporary "art scenes" > [read: institutions as opposed to practices]. My lack of focused attention > is due to the fact that *i'm_actually_living_the_aesthetic_in_question* + > have been for years [New? bah!]. The life of a "Phrase That Will Not Be > Named" advocate *requires* continuous partial attention: it *requires* a > profound adherence to deriving substantiated [yet seemingly ephemeral] > meaning from "the now" [ie connective novelty formation, expressive + > anonymous appropriation devoid of ego/exclusive monetisation, the > continuous fact of networked/communication immediacy/recursion, a > burgeoning maker/hacktivist practice-aesthetic, the growing irrelevancy of > standardised content/institutionalised values + associated comprehension > loadings]. Dragging an antiquated, faux-trendoid label and slapping it over > set of practices that have been in operation for as long as directed > digital communication/tech platforms have coalesced = bad whiff, not to > mention downright offensive. It's the problem of seeking to stuff > uncategorised, non-art-defined forms into format [+ vice versa], of > assigning crusty paradigms/terms to output [like Bridle + his tumblr] > that's being subsumed into a discourse designed to > pinpoint/catalogue/perpetuate. Drawing a [restrictive labelling] box around > a set of expression[s] that exist as working practices seems like inverse > encouragement: this disappointing need to > contextualise>label>scene-create>institutionalise>monetise = sad[panda > making. Google "sad panda" if you don't get the reference]. > > 4. Content curation isn't art. The urge to perform it may be similar to > what drives artists to produce: in many cases, content curation is a > ceaseless search for connection through firehosed content streams/"novelty" > verification that may just ellipse the need for art/culture > classifications. Is it possible to conceptualise a world where the need to > frame practice/process/product through cultural or artistic filters is > largely obsolete? [reddit.com + 4chan.org + 9gag.com + tumblr.com = giving > it a decent go.] > > 5. Appropriating + remixing graphic markers/standards from marginalised or > "other-fied" disciplines/decades does not a new genre/paradigm make, > especially when begging to be [or deliberately engineered to be] monetised > by a system and/or individuals determined to emergent-capture [yes, this > includes institutionally sanctioned galleries + alternative galleries + > oldschool curators + newskool aggregators + conference-merry-go-rounders + > theorists + panels + karma-seeking discourse boffins]. Codify, hipsterise + > aggrandise at your leisure, but be prepared for watered-down, digestible, > bastardised versions of worthwhile social + expressive currencies. > > 6. And so it goes. > > 7. This too will pass. > > > [Mostly-too-large-2-chew]Chunks, > Mez/@netwurker ============= PROXY Gallery http://bit.ly/proxygallery global islands project: http://bbrace.net/id.html "We fill the craters left by the bombs And once again we sing And once again we sow Because life never surrenders." -- anonymous Vietnamese poem "Nothing can be said about the sea." -- Mr Selvam, Akkrapattai, India 2004 "... for every star-driven enterprise there are corollary benefits for those who support it and keep their mouths shut." -- John Young, NYC 2010 "Shikata ga nai -- There's nothing we can do about it." -- Japanese tsunami survivors, 2011 { brad brace } <<<<< [email protected] >>>> ~finger for pgp --- bbs: brad brace sound --- --- http://69.64.229.114:8000 --- --- http://bradbrace.net/undisclosed.html --- . 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