New machine aesthetics: the radio paintings of Simon Ingram
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In the early twentieth century, machine aesthetics were considered shorthand for a fascination for or celebration of the machine; a techno-utopianism and optimism driven by modern mechanised cultures. In 2012 the phrase 'new aesthetics' appeared, firstly as a response to the kinds of images that contemporary machines seemed to be producing and secondly to the redefinitions of aesthetic awareness that these networked aesthetic machines suggested.2 The argument is that human experience and sensory responses are being decentred at the same time that machines appear to be capable of producing works of art.3 New aesthetics suggests a new way to think about the relation between an artist and a machine. Rather than a human picking up a tool, like the brush as an extension of the human hand, the artist and his painting machine have become a very particular assemblage of ftows.
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