Marxist Aesthetics
Published April 20, 2021
In digital image-making each picture is as much a manifestation for the senses as a set of texts or tags that describe it and put it in relation to other pictures. Digital images are not only representations or copies of objects, but expressions of relations between pieces of information. Differing from perspective and more closely resembling cinema, the final form of the digital image is not an individuated object, but the unfolding of techno-social relations; that acoustic landscape colloquially known as the scroll. A digital image is not a single picture, but a techno-social scroll that, through the anthropometric figures of meta-data, retroactively grants sense and value to the overproduction of digital pictures. Meta-data can be therefore read as a curiously Marxist addition to aesthetics. However, these numerically encoded relations are not used to reframe our individuated perception, instead, they parasite on physical movements of social beings to recreate an apparent scrolling causality. 
Feautured sounds: sweater weather x i wanna be your girlfriend - g 🦋; Sweater Weather - The Neighbourhood i wanna be your girlfriend - girl in red


Featured spaces:
Parc del Turó


Related to on TikTok: #dayinmylife; #cottagecore


Featured memes/music genres: lo-fi; LGBTQ anthems


Further reading: “What is momentous about digital photography is that it's a double copy. A copy of both, the analogue surface —the appearance, the visual impression— and of the underlying code, which includes all this metadata as part of the automatism of photography. That is, the time when we image was taken, the apparatus (the identity of the apparatus), which often will help you identify the operator of the machine, and, in principle, where it was taken. […] That automatism was never there for chemical-based photography. So, you've got a double inscription spatial and temporal, digital and analog.”
Geoghegan, B., & Mitchell, W. J. (2012). “Iconology Today”. In B. Geoghegan, Cultural Technologies Podcast. Ep. 06, 49:23.

“The relations of production seem to evolve to enclose these forces in rather novel extensions of the private property form. Wittgenstein’s contribution to communism was his robust proof of the proposition that there is no private language, but in our time, privatized languages are everywhere. And not just languages: Images, codes, algorithms, even genes can become private property, and in turn private property shapes what we imagine the limits and possibilities of this information to be.”
Wark, M. (2019). “Chapter 4: The Class Location Blues”. In M. Wark,  Capital is Dead: Is this Something Worse. London: Verso Books.

Wodzińska, A. (2021, January 21). Cottagecore as a Budding Anti-Capitalist Movement. Institute of Network Cultures.

INFINITE SCROLLER


INFINTE SCROLL AS A SYMBOLIC FORM