Our wiki is a comprehensive encyclopedia of online and offline aesthetics! We are a community dedicated to the identification, observation, and documentation of visual schemata.

What is an aesthetic? Why does everyone always argue about what aesthetics should be on this wiki?

The short answer: A collection of visual schema that creates a "mood."

Some types of aesthetics include:

Aesthetics originated from Internet communities (Ex: Cottagecore, Dark Academia)
National cultures (Americana, Traditional Polish) Note: Most articles that try to describe a national culture will be deleted. These articles should have a higher quality and risk stereotyping a nation.
Genres of fiction with established visual tropes (Ex: Cyberpunk, Gothic)
Holidays with iconic imagery and colors (Ex: Christmas, Halloween)
Locations that have expected activities, components, and types of people (Ex: Fanfare, Urbancore)
Music genres with consistent visual motifs present in cover art, music videos, etc (Ex: City Pop, Emo)
    This does not mean all music genres should be present. For example, Pop and Alternative bands' do not have shared visual traits.
Periods of history with distinct visuals (Ex: Victorian, Y2K)
Stereotypes (Ex: Brocore, VSCO)
Subcultures that share music genres and fashion styles (Ex: Raver, Skinheads)

The long answer:

The word "aesthetic" originated as the philosophical discussion about what beauty is, how we should approach it, and why it exists. However, Millennials and Generation Z started using that term as an adjective that describes what they personally consider beautiful. For example: "After Denise finished watching The Virgin Suicides, she said, 'Wow. That was so aesthetic.'"

Aesthetics have now come to mean a collection of images, colors, objects, music, and writings that creates a specific emotion, purpose, and community. It is largely dependent on personal taste, cultural background, and exposure to different pieces of media. This definition is not official and can be debated. There is currently no dictionary definition that captures the complexity of this phenomenon, which arose in the Internet youth. Rather, people who participate in the community "know it when they see it." These elements are constantly debated, as the opinion on whether or not some aesthetics exist or are valid is constantly debated. This is especially true since everyone's own personal life factors into their opinions.

Here is an example of a debate that is going on within the community. Whether or not Lolita is an aesthetic varies on what counts as visual elements. On one hand, lace, petticoats, and bows are valid elements of visual schema. Those elements combine to spark feelings of kawaii, de-sexualization, rebellion, and appreciation of antique. On the other hand, aesthetics are made up of elements other than fashion, such as home decor or music. Fashion is the visual element, rather than the components making up the coord/outfit. That element is part of broader schemas such as Goth and Victorian. What counts as an element and what qualifies as sparking an emotion is a complicated subject.

So right now, the subject is trying to be defined by the community. What either fits into a larger schema or is distinct enough to warrant its own aesthetic is difficult to say and would depend on who you are asking.

New Art City’s mission is to develop an accessible toolkit for building virtual installations that show born-digital artifacts alongside digitized works of traditional media.

Our curation and product design prioritize those who are disadvantaged by structural injustice. An inclusive and redistributive community is as important to our project as the toolkit itself.

The Collections database consists of entries for more than 480,000 works in the Musée du Louvre and Musée National Eugène-Delacroix. Updated on a daily basis, it is the result of the continuous research and documentation efforts carried out by teams of experts from both museums.

A showcase with creative machine learning experiments

3d collages composed in Unity with scans collected in botanic gardens, backyards, beaches, natural parks…

The shutdown of public life is accompanied by a new understanding of limitation. National borders have been closed, environments have shrunk to the nearest surroundings, and a lack of information and events makes it more difficult for new ideas to emerge. At the same time, the question arises as to whether creative potential is also hidden behind personal limitation. One of the first answers to this question is celebrating its opening this week.

SHUTDOWN.gallery is the latest project of Patrik Hübner. The German designer has set himself the goal of adding a new dimension to cultural life in times of social distancing.

Since 2018 Hübner has been pushing the idea of digital space and the concept of the online gallery. In those days a little ahead of its time, the project is now coming to life in the current events. "I had to watch as museums and galleries in my area closed their doors and the experience of art came to a standstill. It felt as if the gallery had to exist right now."

SHUTDOWN.gallery is a first step towards understanding the analogue and digital world together. It is intended to add a new level to the construct of what a gallery is and to blur the boundaries between analog and digital experience.

A logical next step in developing a narrative for digital spaces that can be experienced. References to real objects and the associated spatial limitations are important to facilitate the transition into this digital space and to prepare metaphors for future reinterpretations of the gallery concept.

The digital gallery adapts to the physical situation of the viewer and is freely accessible: On mobile devices such as telephones or tablets, the visitor can view the room directly and from all perspectives by tilting the device or moving it freely in the room - the boundaries between the physical and the digital disappear suddenly and intuitively.

As a web-based project, the gallery is publicly accessible worldwide. Every week there will be a new exhibition with works that move the world of art and design, thus maintaining the fertile environment of constant change. A growing list of world-renowned designers and artists has already confirmed their participation in what is the start of a new chapter for galleries.

The gallery’s dynamic and flexible visual identity reflects this constant change and desire for collaboration and new perspectives by putting every week’s exhibition at the center of the visual campaign. The result is highly unique mix of the gallery’s space and the artist’s work which can be used across social- and physical spaces to promote and visually explore this collaboration.

Manifest

Shutdown Gallery overwrites the walls of your private space and keeps your mind in motion even though the physical world is standing still.

Growth is a fundamental aspect of human nature. We are used to increasing the space around us, to crossing borders, to thinking of and discovering unexpected grounds.

In this fertile environment of constant change, shutdown confronts us with new levels of restriction and limitation. Country borders are closed, private life reduced to a minimum and cultural life locked in silence. The question "What's new?" is increasingly left unanswered and so are the contents that used to stimulate our thoughts and conversations.

In absence of new impressions, SHUTDOWN.gallery appears as a contemporary place of visual experience that intends to reawaken cultural life beyond social distancing and to literally overwrite the walls of our private space.

Based on the idea to use limitation as a creative tool instead of declaring it as constraint, SHUTDOWN.gallery aims to rethink existing concepts and reestablish focus in a world of distraction.

Every week, there will be a new exhibition with an artist whose work moves the world of art and design and thus maintains the fertile environment of constant change.

Writing Machines is a resource dedicated to various projects related to electronic literature/books/writing/art curated by Julia Garcia

"MindCandy Volume 1: PC Demos." The movie explores the definition and roots of an artistic computer sub-culture known as the demoscene, a community that's given me endless inspiration since the 1980s.

http://mindcandy.de/

Johan Grimonprez : Double Take (French subtitles)
https://www.youtube.com/watch?v=vrYw-xON_Do
Acclaimed director Johan Grimonprez casts Alfred Hitchcock as a paranoid history professor, unwittingly caught up in a double take on the cold war period. The master says all the wrong things at all the wrong times while politicians on both sides desperately clamor to say the right things, live on TV.

Johan Grimonprez : dial H-I-S-T-O-R-Y
https://www.youtube.com/watch?v=FCVwFaDHKeI

NetBehaviour - is an open email list community engaged in the process of sharing and actively evolving critical approaches, methods and ideas focused around contemporary networked media arts practice.

NetBehaviour- is for networked media artists, researchers, academics, soft groups, writers, code geeks, curators, independent thinkers, activists, net sufis, non nationalists and net mutualists.

NetBehaviour - encourages individuals, small groups of mutual interest and representatives of organisations to announce and promote their own projects and events on the list along with the exchange of related concepts/ideas/information/resources.

NetBehaviour - is a place where creative minds can share contemporary ideas and concepts, without either the censorship or endorsement of a centrally imposed hierarchical canon, stunting their creative interests. All disputes are settled by all subscribers in the public forum of the email list.
We are the medium - the context - the source of networked creativity.

Daniel Crooks’ Phantom Ride alludes to cinema history to create a seamless journey through a composite reality. By manipulating digital footage as though it were a physical material, the artist has constructed a collaged landscape that takes us through multiple worlds and shifts our perception of space and time.

This is my tribute to Pablo Picasso’s most famous artwork, Guernica (1937). The main reason to do this is to echo Picasso’s antiwar message, which I strongly believe is needed more than ever. The backside of this artwork I added a few other Picasso’s artworks to advocate peace, however washed out and fragmented it is. The ox, the “sleeping” soldier, and Pegasus are from one of his early Guernica sketches. The others, most notably his Bouquet of Peace (1958), are sampled from his later works with peace theme. The only 3 animated elements are the flower, the lamp, and the light bulb. To me the flower symbolizes life, the lamp represents hope, and the light bulb embodies technological destruction. As long as life continues and hope lasts, humanity will goes on.

The Pannini projection is a mathematical rule for constructing perspective images with very wide fields of view. It is named in honor of Gian Paolo Pannini, an 18th Century Roman painter and professor of perspective, who may very well have used it to draw spectacular views such as the one above; for it can be realized with drawing instruments almost as easily as the standard rectilinear perspective projection. However it is not now taught in art schools, and was apparently never described in print before its recent rediscovery by a team of open source software developers.

How NASA, ESA and MIT joined forces with a Dutch artist to create a bizarre work of art using the International Space Station, the James Webb Telescope and the Universe itself.

Rekall est un logiciel destiné à l’ensemble des arts de la scène (théâtre, danse, musique, cirque, marionnettes, performance…) et aux installations interactives.

Rekall permet de :

• documenter et conserver les œuvres à composante technologique
• reprendre un spectacle dont les technologies sont obsolètes
• retrouver les choix techniques et artistiques d’une résidence à une autre

Rekall est conçu pour :

• les régisseurs : prise de note rapide pendant les répétitions, mémorisation des différentes conduites techniques (son, lumière, vidéo, dispositifs technologiques), regroupement de tous les documents techniques
• les artistes : regroupement et sauvegarde des différents éléments du spectacle (artistiques et technologiques) afin d’en assurer la reprise en prenant en compte l’obsolescence programmée des technologies et l’intentionnalité des concepteurs
• les historiens : documentation des œuvres en prenant en compte le processus de création, les différentes variantes et la multiplicité des types de documents
• les responsables pédagogiques et les éditeurs : création de documentaires enrichis

Rekall documente un spectacle à plusieurs moments de sa vie :

• pendant les répétitions : aide aux régisseurs et aux techniciens
• au moment de la création et pendant l’exploitation : aide aux artistes pour la reprise du spectacle
• après la création : aide aux historiens et aux éditeurs pour analyser une œuvre

« Claude Levi-Strauss : les artistes bricoleurs se retrouvent face à ensemble d’objets hétéroclites qu’ils interrogent pour comprendre et imaginer ce que chacun d’eux pourrait signifier. Chaque élément représente un ensemble de relations à la fois concrètes et virtuelles, ce sont des opérateurs. La particularité de ces objets est qu’ils ont déjà servis et les possibilités de leur ré-emploi demeurent toujours limitées par ce qui subsiste en eux de cette histoire passée. Leur usage originel fait d’eux des éléments pré-contraints et ouvrés ; ils ont donc été travaillés par un précédent auteur qui leur a attribué une signification précise et soumise à l’œuvre qu’il réalisait. Le second auteur s’affairera ainsi à démonter cet ensemble de signification afin d’en créer de nouvelles. Yann Beauvais et J-M Bouhour confirment, les deux lois fondamentales de détournement sont : - la perte d’importance allant jusqu’à la déperdition du sens premier de chaque élément autonome détourné, et en même temps - l’organisation d’un nouvel ensemble signifiant qui confère à chaque élément sa nouvelle portée. »

This library of arts and music videos features This or That (a burlesque game show), the Coffee House TV arts program, punk bands from Punkcast and live performances from Groove TV. Many of these movies are available for free download.

Quote from http://www.openculture.com/2013/09/william-s-burroughs-explains-what-artists-creative-thinkers-do-for-humanity.html

The interview clip above, from the 1991 documentary Commissioner of Sewers, puts a two-part question to Naked Lunch author, “cut-up writing” master, and counterculture eminence William S. Burroughs: “What is the original feel of the writer? What mechanisms should he consider, work on?” That may sound like a slightly odd line of inquiry — the interviewer, bear in mind, doesn’t speak English natively — but Burroughs responds with an important point, clearly made. “The word should should never arise,” he first insists, though perhaps self-contradictorily. “There is no such concept as should in regard to art — or anything — unless you specify. If you’re trying to build a bridge, then you can say we should do this and we should do that, with respect to getting a bridge built, but it doesn’t float in a vacuum.” All well and good for engineering. But what can art do, if not build a bridge?

“One very important aspect of art is that it makes people aware of what they know and what they don’t know that they know,” Burroughs says. “This applies to all creative thinking. For example, people on the sea coast in the middle ages knew the Earth was round. They believed the Earth was flat because the church said so. Galileo tells them the Earth was round, and nearly was burned at the stake for saying so.” Burroughs summons as examples Cézanne, whose studies of what “objects look like seen from a certain angle and in a certain light” at first made viewers think “he’d thrown paint on canvas,” and Joyce, who “made people aware of their stream of consciousness, at least on a verbal level,” but “was first accused of being unintelligible.” Yet Burroughs found he lived in a world where, this art already having expanded humanity’s consciousness, “no child would have any difficulty in seeing a Cézanne” and few “would have any difficulty with Ulysses. The artist, then, expands awareness. Once the breakthrough is made, this becomes part of the general awareness.” Such insight makes Burroughs, as one Youtube commenter puts it, “so down-to-earth that he’s far-out.”

Much of the world's great artwork is tightly controlled, but the Getty Museum just announced a significant initiative to open things up — its new Open Content Program has made some 4,600 pieces of art from the museum's collection free to use. Users can visit the Getty Search Gateway to browse through the entire collection of high-resolution images, and they can all be used for commercial and non-commercial purposes so long as they're properly attributed to the museum. When downloading an image, the site also asks for you to share why you're using it — information the museum wants to see the many reasons that people have for downloading its content.

Amongst the many freely available pieces of art released by Getty are a number of quite famous images, including work by Claude Monet, Vincent van Gogh, Rembrandt, and Leonardo da Vinci.  The 4,600 pieces of artwork available are just the beginning, as well. Getty says that it's actively exploring the possibility of releasing much more art into the public domain, both from the museum's collection as well as materials from the Getty Research Institute's special collections. While Getty isn't the first museum to push forward with an open artwork initiative (the museum cited a number of institutions like the Walters Art Museum as inspirations for the movement), it's the latest example of how the internet is making classic, famous works more accessible.

A growing market,Naturally, with the number of photographers being so high.

1.Rhein II by Andreas Gursky – $4, 338.500 in 2011
2.Cindy Sherman- Untitled #96- $3,890,500 in 2011
3.Dead troops talk- Jeff Wall- $3,666,500 in 2012
4. 99 cent II Diptychon - $3,346,456 in 2007
5. The Pond-Moonlight- Edward Steichen -$2,928,000 in 2006
6. Untitled #153- Cindy Sherman-$2,700,000 in 2010
7. Billy the Kid-unknown -$2,300,000 in 2011
8. Tobolsk Kremlin- Dimitry Medvedev-$1,750,000 in 2010
9.Nude- Edward Weston-$1,609,00 in2008
10.Georgia O’Keeffe (Hands)-Alfred Stieglitz-$1,470,000 in 2006
11.Georgia O’Keeffe Nude- Alfred Stieglitz - $1,360,000 in 2006
12.Untitled(Cowboy)-Richard Prince-$1,248,000-in 2005 
13.Dovima with elephants- Richard Avedon-$1,151,976 in 2010 
14.Nautilus- Edward Weston-$1,082,500 in 2010 
15. One-Peter Lik-$1,000,000 in 2010 
16. Untangling-Jeff Wall- $1,000,000 AUD in 2006 
17.Joueur d’Órgue-Eugene Atget -$686500 in 2010 
18.Andy Warhol- Robert Mapplethorpe -$643,200 in 2006 
19.Moonrise, Hernandez, New Mexico-Ansel Adams-$609,600 in 2006