Speculative Aesthetics (Redactions)
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This series of interventions on the ramifications of Speculative Realism for aesthetics ranges from contemporary art's relation to the aesthetic, to accelerationism and abstraction, logic and design. From varied perspectives of philosophy, art and design, they examine the new technological mediations between the human sensorium and the planetary media network within which it now exists, and consider how the aesthetic enables new modes of knowledge by processing sensory data through symbolic formalisms and technological devices. 'Speculative Aesthetics' anticipates the possibility of a theory and practice no longer invested in the otherworldly promise of the aesthetic, but acknowledging the real force and traction of images in the world today, experimentally employing techniques of modelling, formalisation, and presentation so as to simultaneously engineer new domains of experience and map them through a recon-figured aesthetics that is inseparable from its sociotechnical conditions.
of stuff that you said that I totally disagree with, Mark, so I don’t know where to begin! Artists go and shoot a video on location, and get to know the locals and they do some anthropology. And then they bring it back and show it, they go visit an archive, and there’s the bit of archive they visited; it’s presented as ‘here is evidence of all the research that I do’…. I find these to be hideous modes of practice in art. The word ‘research’ has really made that difficult. But then there’s another
(if more perverse and obfuscated) than other such projects. This deployment can therefore be considered and evaluated alongside a broader range of aesthetic practices. Such a revocation of contemporary art’s privilege in relation to the aesthetic is crucial since the new modes of aesthetically-mediated practices that are bringing about profound changes in the way that we produce, disseminate and consume experience, do so with no regard to that privilege. It is the technological augmentation of
Klein’s work on models for non-Euclidean geometries are motivated in this sense, from within the intuitive space of Euclidean geometry. The failure of this project to prove the incorrectness of non-Euclidean geometry goes hand-in-hand with the increased formalization of the mathematical project in the work of Poincaré and Hilbert, whose work takes a formal language to apply over any system of objects that satisfy the specified axioms. It is precisely in so far as geometry is released from the
forthcoming). 4. L. Wittgenstein, Tractatus 6.126. 5. Ibid., 6.1251. 6. S. Krämer, ‘Writing, Notational Iconicity, Calculus: On Writing as a Cultural Technique’, in Modern Languages Notes 118:3 (2003), further developed in Dutilh Novaes, Formal Languages. ‘A fissure of “operation” and “construction” on the one hand, and “interpretation” and “understanding” on the other, is positioned in such a way that the specifically mechanical, technical aspects of the symbolic cultural practices emerge’
also to claim some sort of demanding power within the political, and this requires a serious investment in a scientific method and a materialism. This is a question of how an artwork might always already inhabit this science, and also a question of how the artwork articulates that crucial and political shift from standard aesthetics to non-standard aesthetics. The difficulties that art has faced when attempting to do just this compel us to look at how the images that we construct permit and