The article had a  picture of a laptop on the floor in a room off old street near seren, where I worked. Also talking to design the team about computers and where they are going. What follows doesn’t make sense, but they are just notes. Collage of other peoples thoughts from the past. A hand-me-down dress from who knows where, And where will she go and what shall she do, When midnight comes around.

Just what is it that makes today’s crises so different, so appealing? How can I superimpose the starkly contemporary onto this rich, multimodal urban landscape of abject financial, moral, infrastructural and marital collapse?

And what will she do with Thursday’s rags, When Monday comes around

The architecture of the contemporary city is no longer simply about the physical space of buildings and landscape, more and more it is about the synthetic spaces created by the digital information that we collect, consume and organise; an immersive interface may become as much part of the world we inhabit as the buildings around us.

And what costume shall the poor girl wear, To all tomorrow’s parties
Since May 2011 I have been collecting material which points towards new ways of seeing the world, an echo of the society, technology, politics and people that co-produce them.
Fit for one who sits and cries, For all tomorrow’s parties

The answer is simplicity itself: No effort need be made to reconcile the differing scales of the virtual and the material. They can simply coexist in raw potential.

The New Aesthetic is not a movement, it is not a thing which can be done. It is a series of artefacts of the heterogeneous network, which recognises differences, the gaps in our distant but overlapping realities.

All tomorrows parties  -Velvet Underground
Bruce Sterling: The Hypersurface of this Decade
Augmented City 3D from Keiichi Matsuda
The New Aesthetic is an ongoing research project by James Brindle