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• W28089488 abstract "NOSTALGIA FOR THE FUTURE Infinitely tiny partitions of time contain the equivalent of what used to be contained in the infinite greatness of historical time. - Paul Virilio(1) I suffer from nostalgia for the future. I am one of those people who works with computers, a category fast becoming ubiquitous within the postmodern information economy. I find myself missing systems, softwares, tools and products before they are even gone. I miss them because I know that the ever redoubling speed of digital technologies will render them obsolete memories in the blink of my too human eye. If I do not prepare myself emotionally for their absence, even before the moment of their release, I will be less able to adjust to the immediate future that will regard them either as detritus or charming anachronisms. Only nostalgia for the future allows me the mental space to confront the convergence of digital technologies and cultural production. On the digital frontier the computer encompasses the arts, entertainment, music, communication and education. ability to represent text, audio and visual information in a uniform binary code, and the development of an infrastructure to distribute this information on demand and around the world has created a cultural environment. Of what do the electronic arts consist? usual descriptors that come to mind include computer graphics, hypertext, digital photography, virtual reality, on-line communities, chat rooms, non-linear video, Web sites, MUDs, MOOs, home pages, etc. computer is often metaphorized as a desktop, but is better thought of as a universal solvent, dispersing all our other media in a digital suspension, from which pulled constituent elements are separated and then deployed. digital frontier is an environment brimming with energy. As John Perry Barlow, long time lyricist for the Grateful Dead, points out: used to be that you hung around rock'n'roll because that was where the interesting people are, but . . . [nothing] has the creative juice at the moment that I see in the interesting hybrid that's developed between the computer and artists.(2) Theorists, designers, teachers, artists, students, users and writers need to take stock of the technologies available, but they must do more than simply master the mechanics of their use. This has become an era of bad design and unsophisticated computer-inflected art. typographic nightmare of early desktop publishing will be seen as only the beginning of a 20-year nadir of design aesthetics. As bad as bad media aesthetics are when static, they will worsen as they become interactive. It is not enough to struggle towards hypermedia: we need to develop a hyperaesthetic. THE FUTURE/PRESENT An enthusiastic respect for the word 'future,' and for all that it conceals is to be ranked among the most ingenuous ideologies. - Georges Duhamel(3) Remember future shock: the new boldly announces itself, cuts through the quotidian fog and forces one to confront tomorrow. It is already tomorrow, however, and the future does not shock - it simply exists as a co-equal partner with the present. Grammarians speak of the future perfect tense, which indicates an action that begins in the past or the present and will be completed later. Example: The snow will have melted before you arrive. Explanation: Melting of snow has begun, is continuing and will soon be completed. We need a similar term to describe the contemporary moment - no longer simply the present, but rather a future/present, a phenomenological equivalent to the future perfect tense. Example: In the future/present, digital post-production techniques will have become obsolete by the time you learn them. Explanation: technologies have been developed, are being refined and will soon outstrip your expertise. That the cycles of development, maturation and decay of future/present environments is ever accelerating has been noted by others too numerous to mention. …" @default.
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• W28089488 date "1996-01-01" @default.
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• W28089488 title "Theorizing in Real Time: Hyperaesthetics for the Technoculture" @default.
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