![]() ![]() This thesis is structured around case-studies of artwork made by Constant Dullaart, Rosa Menkman, Jon Rafman, Internet Surfing Clubs, Ryan Trecartin, and Oliver Laric. In opposition to a contracted, answers-fixated dominant culture, artists are advantageously positioned to point back to the realm of questions – in all of its arable uncertainty, inquisitiveness and ambiguity. Working within-but-against these surreptitious structures are radical practices that critique, undermine, leverage, and offer alternatives to ideologies of disambiguation. They thus espouse ideologies via systematized calculation and centralized command, despite the commonly-perceived transparency, fluidity and egalitarianism of the Net. Rooted in symbolic logic, digital technologies carry a heritage of disambiguation-a dominancy of overdetermined, reason-based principles writ furtively in algorithms and protocols. This thesis indicates a lineage of this nature in computer and Internet history, twentieth-century cybernetics, and larger philosophic histories. These practices, this thesis proposes, may be best characterized by their radical use of ambiguity and un-certainty – qualities at clear odds with the rational, efficient nature of digital technologies. It attempts to account for contemporary artistic practices that critically address some of the objectionable tendencies within digital culture. This thesis bridges studies in technology history, network and political theory, and art history. Within a culture of persistent efficiency, ambiguous imagery represents a critical alternative. In the complementary art work experimental glitch and multilayered video effects are used for the artistic expression and exploration of ‘distorting everyday life’ regarding ‘Japanese cute’s conceptual methodology intensifications, hybrid visualization and complicated imagery. As a visual way of distorting everyday life, glitch aesthetics is experimented and used by mostly video artists. The focus of this paper is the exploration of the Japanese cute (and the weird) aesthetics impact and its conceptual methodology in the popular visual culture and the contemporary art scene. ![]() Obsession with Kawaii culture opens the door to new distorted visualities that create paradoxes between mundane reality of everyday life and surreal fantasy life. The proliferation of Kawaii aesthetic brought about revelations in art, fashion, and design even in everyday life practices. The specific form of cute (and inevitable weird) culture has paved its way to the top of the world economy: Japanese Kawaii Culture. Oscillating between physical world of commodity culture and digitalized media culture, cute’s visual, cultural and economic meanings are expanded. Aside from being a dominant aesthetic of mass culture, the cute also became a form of expression with increasing virtual and visual communication. The notion of “Cute” has been studied as a global aesthetic form in consumer and popular culture. ![]()
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