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Criticism As An Approach To Interface Aesthetics [Bertelsen, O.W.]

February 3, 2010

Taken from: Criticism As An Approach To Interface Aesthetics.
BERTELSEN, O. W. and POLD, S. (2004) Criticism As An Approach To Interface Aesthetics. In Proceedings of the Third Nordic Conference on Human-Computer interaction. Tampere, Finland, October 23 – 27, 2004. NordiCHI ’04, vol. 82. ACM, New York, pp 23-32.

today’s dominating perspectives on interactive artefacts focus almost only on technical and cognitive aspects, and consequently the field needs to take a cultural and aesthetic level of analysis into account in order to be able to address issues like design for unanticipated use or design of cultural interfaces. With the popularity of the PC and the web the interactive artefacts have spread from being efficient, functional tools at the workplace, to become a medium for cultural activity. Today, interactive artefacts are important media for producing, consuming and interacting with cultural data, e.g. on the web, or in computer games. Furthermore, it is also a cultural medium in its own terms, in the sense that interacting with interactive artefacts is an increasingly important cultural activity, (…) Interactive artefacts entered the cultural sphere long ago – this trend is accentuated by the current developments towards pervasive and ubiquitous computing.” (p23)

Apart from the media aesthetic branch of aesthetic theory, the aesthetics we propose is based on digital aesthetics. Theories of digital aesthetics have evolved within the field of aesthetic theory, especially since the PC was popularized, drawing on modern aesthetic theories from e.g. Barthes, McLuhan and Benjamin. Especially the developments of Benjamin focus on how digital art and aesthetics explore and develop a critical insight into the media and mediated perception, and how a new formal language is developing.” (p24)

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