Infosthetics and Manovich’s definition of “information aesthetics”

from there are some great infographics or instructional design graphics. I am not sure we need yet another term for this work, and that would not be my term of choice.

While the notoriously hard-nosed physicist Stephen Weinberg has written lucidly about the role of beauty or aesthetics in helping researchers understand data, budgets are lean right now in mid-2009, and I suspect that overly showy or cool-looking graphics sets the wrong tone for many organizations. On the other hand there is the “wow” factor, which makes some of this work so compelling:


from is Lev Manovich’s definition of “information aesthetics”

INFO-AESTHETICS is not only the aesthetics of data.
INFO-AESTHETICS is the new culture of INFORMATION society.

A computer: Never before a single machine was an engine of economy —
AND the main tool for representation. INFO-AESTHETICS needs to reflect this duality.

How can we use new media to represent human experience
in INFORMATION society in new ways? Discover

“INFO-AESTHETICS suggests that the new aesthetics already exists in information interfaces and information tools that we use in everyday life. In other words, new aesthetics of information culture manifests itself most clearly in computer software and it’s interfaces”

“INFO-AESTHETICS scans contemporary culture to detect emerging aesthetics and computer-based cultural forms specific to information society. Its method is a systematic comparison of our own period with the beginning of the 20th century when modernist artists created new aesthetics, new forms, new representational techniques, and new symbols of industrial society. How can we go about searching for their equivalents in information society – and does this very question make sense? Can there be forms specific to information society, given that software and computer networks redefine the very concept of form as something solid, stable and limited in space and time? There are radically new representational techniques unique to own time, given that new media has largely been used in the service of older visual languages and media practices: Web TV, electronic book, interactive cinema? Can information society be represented iconically, if all its most characteristic activities – information processing, interaction between a human and a computer, telecommunication, networking – are dynamic processes?”


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