The New Aesthetic is comprehensible. It’s easier to perceive than, for instance, the “surrealism” of a fur-covered teacup. Your Mom could get it. It’s funny. It’s pop. It’s transgressive and punk. Parts of it are cute.
It’s also deep. If you want to get into arcane matters such as interaction design, computational aesthetics, covert surveillance, military tech, there’s a lot of room for that activity in the New Aesthetic. The New Aesthetic carries a severe, involved air of Pynchonian erudition.
It’s contemporary. It’s temporal rather than atemporal. Atemporality is all about cerebral, postulated, time-refuting design-fictions. Atemporality is for Zenlike gray-eminence historian-futurist types. The New Aesthetic is very hands-on, immediate, grainy and evidence-based. Its core is a catalogue of visible glitches in the here-and-now, for the here and for the now.
It requires close attention. If you want to engage with the New Aesthetic, then you must become involved with some contemporary, fast-moving technical phenomena. The New Aesthetic is inherently modish because it is ferociously attached to modish, passing objects and services that have short shelf-lives. There is no steampunk New Aesthetic and no remote-future New Aesthetic. The New Aesthetic has no hyphen-post, hyphen-neo or hyphen-retro. They don’t go there, because that’s not what they want.
Bruce Sterling on the New Aesthetic, take 1.