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Outline

Title
Abstract
Figures
Futurecasting
Contours and Conclusions
Emergent Subjective Configurations
Hipstamatic and Post-Digital Subjectivity
References
All Topics
Art
Digital Art

Post-Digital Rhetoric and the New Aesthetic

Profile image of Justin HodgsonJustin Hodgson

2019

Abstract
sparkles

AI

The paper explores the concept of post-digital rhetoric, examining how contemporary aesthetics are shaped by the interplay of human and nonhuman elements in digital media. It investigates how various sensory modes, particularly visual and auditory, mediate our understanding of writing and communication in the digital age, emphasizing the importance of embodied experiences in the creation and reception of texts. The work ultimately seeks to redefine traditional notions of rhetoric by integrating insights from art, technology, and media studies, highlighting the evolving relationship between culture and digital practices.

Figures (10)
LATE A. Pixel Pour, by Kello AKA Leyla Daze (@leylaDaze, kelloworld.com). Photo by Benjamin Norman. Used with permission from Kello Goeller.
LATE A. Pixel Pour, by Kello AKA Leyla Daze (@leylaDaze, kelloworld.com). Photo by Benjamin Norman. Used with permission from Kello Goeller.
PLATE B. Heydar Aliyev Center, in Baku, Azerbaijan, designed by Zaha Hadid and
PLATE B. Heydar Aliyev Center, in Baku, Azerbaijan, designed by Zaha Hadid and
PLATE C. MAP, ‘Hello World!’ Kasseler Kunstverein, by Aram Bartholl. Photo by Nils Klinger. 2013 © Aram Bartholl. Used with permission from Aram Bartholl.
PLATE C. MAP, ‘Hello World!’ Kasseler Kunstverein, by Aram Bartholl. Photo by Nils Klinger. 2013 © Aram Bartholl. Used with permission from Aram Bartholl.
PLATE D. Real Life Coin Block, by Bruno Pasquini. Used with permission from Bruno Pasquini.
PLATE D. Real Life Coin Block, by Bruno Pasquini. Used with permission from Bruno Pasquini.
PLATE E. Walden, by Russell Kirsch. Public Domain.
PLATE E. Walden, by Russell Kirsch. Public Domain.
PLATE F. Orange River Irrigation (border between Namibia and South Africa). Photo by NASA ALI/EO-1.
PLATE F. Orange River Irrigation (border between Namibia and South Africa). Photo by NASA ALI/EO-1.
TABLE 1. Sample of Gregory L. Ulmer’s Apparatus Theory” “Ulmer’s apparatus table has appeared in many locations, from Ulmer’s own work (specifically his networked book website [www.ulmer.networkedbook.org]) to that of Arroyo, among others. But the table here is a specific modification of the one Holmevik provides in /nter/vention: Free Play in the Age of Electracy.
TABLE 1. Sample of Gregory L. Ulmer’s Apparatus Theory” “Ulmer’s apparatus table has appeared in many locations, from Ulmer’s own work (specifically his networked book website [www.ulmer.networkedbook.org]) to that of Arroyo, among others. But the table here is a specific modification of the one Holmevik provides in /nter/vention: Free Play in the Age of Electracy.

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  166. Accelerationism, 32n17 access agency, 80, 84
  167. Achituv, Romy, and Camille Utterback, 158. See also Text Rain Adamson, Glenn, 73
  168. Adobe: Illustrator, 94; InDesign, 94, 102; Pho- toshop, 94, 102, 136; Premiere, 136 aesthetic: bodily augmentations, 90; choice, 99; expectations, 100, 168; human-tech- nology-infused, 69; movement, 42, 44; pattern, 101; representation, 162; values, 100 aesthetic markers, 98, 123; of information cul- ture, 23; borrowing of, 56 aesthetic sensibility, 69, 147; emerging, 30 aesthetics of error, 107 agency, 122, 151; agential mediatory, 122; co- agential mediating technologies, 124; degree of, 118; human, 64; technologi- cal, 64; merging of agencies, 115; of the action, 114; human and computers com- bining, 114; techno-human, 152; techno- logical and human, 113; technological co-agency, 116; varying degrees of, 117
  169. Aima, Rahel, 150; becoming the object of the gaze, 151; feminized subjectivity, 151 algorithmic: gaze, 90; media, 67; sensorium, 131 algorithmization, 9, 103, 109, 122, 140
  170. Allen, Woody, 148, 150-51 ambient: rhetoric, 135n9; signals, 85 anamorphosis, 104-5, 107; anamorphic play, 104
  171. Anderson, Daniel, and Jentery Sayers, 102
  172. Anheuser Busch Superbowl commercial, 3
  173. Apple, 49-50, 119; and App of the Year award, 119 APxD mkII, 115-16
  174. Aristotle, 29, 164, 164n8, 168
  175. Arnall, Timo, Jørn Knutsen, and Einar Sneve Martinussen, 130
  176. Arroyo, Sarah, 133n8, 138 table 1 at/through, 116-17n3 audience, 38, 135, 147; aesthetic sensibilities, 21; and identity, 160; and medial experi- ences, 145; expectations, 155; expectations of medial experience, 33; expectations of mediated artifacts, 170; hypermediacy- oriented, 160; hypermediate-oriented, 161; rhetorical, 109; shift in medial expectations, 66; audience-based consid- eration, 146
  177. Aurasma, 79, 131, 169 authentic: experience, 98; medial experience, 158; mediated experience, 88, 165, 169; authenticity of a moment, 166 autocorrect, 116-17, 167 autofill, 117, 167 autopoiesis, 114; autopoietic, 115, 126 avant-garde, 43, 75, 112; technological, 101 awareness aesthetic, 48, 52, 53n6, 147 backward-facing: aesthetic, 43; orientation, 51-52; and the New Aesthetic, 54
  178. Barnard, Malcolm, 92-93
  179. Bartholl, Aram, 30, 77-8; Map project, 65, 77-79
  180. Bassett, Caroline, 32n17, 44, 44n3, 62; and object-oriented ontology, 62n10
  181. Bateson, Gregory, 37
  182. Baumgarten, Alexander Gottlieb, 28; percep- tion of the aesthetic, 28
  183. Baxandall, Michael, 92-93, 95. See also period eye Bay, Jenny, and Thomas Rickert, 4, 18n9; ontological weight and rhetorical agency, 4
  184. Benkler, Yochai, 2; means of production, 2n1
  185. Berry, David M., 26, 91-92, 161. See also digi- tal pareidolia
  186. Berry, David M., Michel van Dartel, Michael Dieter, Michelle Kasprzack, Nat Muller, Rachel O'Reilly, and José Luis de Vicente, 13, 13n7, 47, 61, 78, 91
  187. Betancourt, Michael: Marxian perspective, 36; New Aesthetic categories, 37, 39; machine labor, 36
  188. Bishop, Claire, 12; filtering affect through the digital, 12; new media art, 13n4
  189. Bitzer, Lloyd, 38, 38n1, 135; rhetorical situa- tion, 38, 38n1 black boxing practices, 162; black-boxed computationality, 45-46n4, 143
  190. Bogost, Ian, 14, 47, 64; and OOO, 61; and OOA, 62 Bolter, Jay David, and Diane Gromala, 158
  191. Bolter, Jay David, and Richard Grusin, 95-96, 98-99, 147, 154n4, 155-57
  192. Borenstein, Greg, 61-63 born-digital, 15, 42, 42n2, 76; architecture, 15; artifact, 73; methods, 71
  193. Bosma, Josephine, 13; pervasive digital medi- ation, 13n6; screen-based perception, 13
  194. Bourdieu, Pierre, 29
  195. Boyle, Casey, 16-17, 50, 116-17, 123-24, 126, 135, 156; glitch as rhetorical invention, 17; and posthuman reorientation, 116, 126. See also serial practice bricoleur, 46n4, 143; and bricolage, 143
  196. Bridle, James, 4, 15, 15n8, 22, 36, 42, 48-49, 51-52, 56, 73-74, 76, 80, 84, 90-91, 100- 101, 113-14, 120, 143, 152-54; and visual cues of New Aesthetic, 26; MQ-1 Preda- tor drone, 53, 53n8; network aesthetic, 14; New Aesthetic resistance, 13; tumblr, 131, 163; tumblr archive, 31, 121 broadcast: television, 99; unidirectional tech- nologies, 45
  197. Broderick, Matthew, 148; and Ferris Bueller, 148, 150-51
  198. Brooke, Collin G., 75, 117, 116-17n3
  199. Brown Jr., James J., 23, 25n13, 86; and hospi- tality, 23; and Jacques Derrida, 23
  200. Buick, Lucas, 119
  201. Burke, Kenneth, 94
  202. Burroughs, William, 115 human and nonhuman, 37; audience, 21, assemblages, 100; capacities for engage- ment, 115; conditions of being, 17; inter- action, 32; materialities, 68; registers, 95; relations, 117, technical failure, 57
  203. human apperceptions, 34-35; techno-human, 35 human: condition, 93, 126, 131, 134, 138, 163, 166; compressed sensibilities, 60; data streams, 159, 161; expectations, 100; experience, 129; sensibilities, 54, 85, 90, 95, 109, 125; sensorium, 53-54, 64, 69, 88, 124-25, 130, 166, 170; techno-infused sensibilities, 111 human-nonhuman: relations, 61; collabora- tions, 63 human-technology: and human-robot writ- ing collaboration, 115; making, 8, 64, 66, 109, 113, 132-33; symbiosis, 125, 138; writ- ing collaboration, 115 humans-as-data, 159, 162-63; as data genera- tors, 131
  204. hyperawareness, 147, 151, 155, 157; of media- tion, 8, 65-66, 153, 156n4, 170; of process, 167; of the mediating act, 170 hypermediacy, 96, 98, 101, 143, 147, 150, 155- 61, 163, 170; as rhetorical, 96 hypermediate, 98-99, 108, 148, 148n1, 158-61, 165; aesthetic, 106-7; awareness, 97, 156; conditionalities, 157; considerations, 161; culture, 161, 170; expression, 157; medial experience, 156-57; position, 102; possi- bilities, 169; purpose, 167; transition, 157 hypermediation, 153, 159 hyperrhetorical, 65, 147, 155-56, 158; condi- tion, 154; enactment, 153; mediations, 163; practice, 154 hyperrhetoricity, 155, 159, 163 hypertext, 75; hypertextuality, 168 immediacy, 75, 96-98, 147, 150, 156-57, 163, 168-70; sense of, 46 immediate, 98, 148, 148n1, 159, 165; sensibili- ties, 157 individuation, 168; individuated, 169 information: culture, 22; theory, 22; architec- ture, 118 inside: the digital, 86; the machine, 23, 25
  205. Instagram, 80, 84, 120, 123 instrumentalist perspective, 114 interaction design, 158, 168 interval of light, 58. See also third interval iPad, 49-50; iPad 2 commercial, 49 iPhone, 98; and camera, 121; and Hipstamatic, 120; users, 99; X, 89
  206. Irigaray, Luce, 108
  207. Jackson, Robert, 42
  208. Jenstad, Janelle, 71; and the Agas Map, 71
  209. Jones, Steven E., 70-72; new consensual imagination, 70-72
  210. Kant, Immanuel, 28, 61
  211. Kello, 30
  212. Kirlian Device (KD Mobile), 130
  213. Kirsch, Russell, 89-91; and square-pixel, 89; and Walden, 89
  214. Knight, Aimée, 16, 28-29, 51; functional aes- thetics, 16
  215. Kuhn, Virginia, 5, 56; imageworlds, 5; remix, 56; truth claims, 56
  216. Kwastek, Katja, 35, 92-93, 95n4, 161 labor, 59, 116, 122, 140, 167; labor burden, 132; laboring act, 167
  217. Lanham, Richard, 19-21, 19n10, 26, 49, 55, 74-75, 116, 169-70; at/through, 49, 74, 116; inhabiting new perspectives, 20; and manipulating scale, 105; and decorum, 105
  218. Lasko, Hal, 125-31, 127n6, 137, 144; and MS Paint Pixelism, 129; and graphic design, 126; wet macular degeneration, 127
  219. LAYAR, 79, 169
  220. Levi-Strauss, Claude, 46n4, 143 liminal space, 76, 84
  221. Losh, Elizabeth, 22-23, 25n13, 27, 105-6; and digital genres, 22; and information cul- ture, 22; and public rhetoric, 22; and scalability, 105; and screen-media inter- face, 22 ludic habits of practice, 124, 136-37, 139, 141, 144, 146, 167
  222. Lyon, Arabella, 52; and the challenge to a future-oriented perspective, 52
  223. Lyotard, Jean-François, 69n2, 95n4, 132; par- alogical thinking, 69n2 machine labor, 36. See also Betancourt, Michael machine: readable, 161; vision, 15 machinic: agents, 62; culture, 45; sensorium, 131; vision, 114 making, 58; digital, 72-73, 79, 85; real, 72-73, 78-79
  224. Manovich, Lev, 12, 102n7, 157; and Duchamp- land, 12; and Turing-land, 12
  225. Map project, 77-78. See also Bartholl, Aram Mario Kart, 136 master class, 33, 95, 132-33, 165; and algorith- mized techniques, 144; techniques of, 122; trained gaze, 123 material: aesthetics, 88; and medial engage- ment, 142; and nonmaterial conditions, 143; condition, 57, 136; expressions, 88; registers, 86; space, 108; material-to-digi- tal conversion, 81 materialities: biological, 163; computational, 127; digital and nondigital, 52, 170; human and nonhuman, 167; nondigital, 59, 82, 131, 152; of post-digital culture, 140; technological, 163 materiality, 86; digital and nondigital, 86-87; of writing, 118
  226. McDonald, Kyle, 14, 101; functionally designed devices, 14
  227. McGee, Wes, 167
  228. McLuhan, Marshall, 32, 44-46, 49-50, 60, 63, 69, 93, 96, 122, 126, 148, 171; rearview mirror, 54. See also numbness; techno- logical idiot; serious artists
  229. McLuhan, Marshall, and Quentin Fiore, 93; human sense ratios, 93
  230. McNeil, Joanne, 113, 115 mechanical, 115; objectivity, 120; reproduc- tion, 122, 140 media: aesthetics, 96; cultural expectations of, 148; ecologies, 95n4, 118, 124, 149, 168; streams, 158; studies, 126 medial: awareness, 150, 156, 169; conditions, 166; ecologies, 90, 154, 161; expectations, 145; experience, 156, 162, 164-65; numb- ness, 50; orientation, 160, 162; patterns, 93 mediascapes, 98, 134, 140, 146; contemporary, 26, 100; cultural, 144; digital, 107; digi- tally saturated, 128; hypermediate, 153; hypertechnologized, 18; post-digital, 150 mediated: being, 133-34, 152, 160-61; condi- tionalities, 152; engagements, 170; expec- tations, 166; experience(s), 160, 166-68, 170; making of mediated experiences, 168; publics, 158 mediating: act, 151; devices, 158; practices, 100, 162; retrofitting, 140; rhetorical arti- facts, 17; technologies, 26, 124; technolo- gies as conceptual models, 17 mediation: cultural expectations of, 97, 156, 159; expectations of, 158; experiencing of mediation, 146
  231. Micciche, Laura R., 116
  232. Microsoft Office Assistant, 150. See also Clippy Microsoft Word, 77, 117-18, 117n4; document, 86; and anti-aliasing, 105
  233. Miller, Daniel, 63
  234. Miller, Paul, 56
  235. Minard, Jonathan, 63
  236. Mirocha, Lukasz, 5, 42 mobile computing, 67
  237. Moretti, Franco, 105-6; and distant read- ing, 105
  238. Morey, Sean, 71n6, 82, 109
  239. Morey, Sean, and John Tinnell, 17, 27, 79; and augmented reality, 17, 27, 79 morphogenic affordances, 168 motor dispositions, 33-35; habituated, 34. See also Dewey, John
  240. Mulder, Arjen, 46, 49; technologized sensi- bilities, 46
  241. Mulliken, Jasmine: and the Mapping Dublin- ers Project, 71 multimedia composition, 79 multimodal: composition, 86; listening, 34 multisensory ecology, 34. See also Ceraso, Steph narrative media, 149 National Bureau of Standards, 89
  242. Nawa, Kōhei, 161 network: aesthetic, 14, 65, 147; voyeurism, 89 networked: culture, 14, 44; expression, 117; world, 142

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