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přehledná oborová literatura k dějinám nových technologií:
The digital visual culture that has been a foundation for the emergence of the New Aesthetic is just one of the manifestations of a greater shift our civilization has been undergoing with the digital turn and postdigital aesthetics; the New Aesthetic has necessitated not just a new perspective but a new approach or a new type of attenuation. Postdigital aesthetics require a cross-disciplinary theoretical and practical approach… going far beyond a mere theory of beauty of digital images.
The case for the¨new aesthetic (new aesthetic and art)
Post-media Lev Manovich headlines “a program for post-media aesthetics”, he calls for “a new conceptual system which would replace the old discourse of mediums and which would be able to describe post-digital, post-net culture more adequately”. In a fashion similar to the idea of cultural transcoding, ie. applying computing terminology to treating the digitised cultural artefacts, introduced in his book Language of New Media (2001), he proposes to substitute the concept of medium by “new concepts, metaphors and operations of a computer and network era, such as information, data, interface, bandwidth, stream, storage, rip, compress, etc,” and apply it to discussion about “the culture of the past” as well.
he proposes “to talk about past media as software”, a practice which requires updating the information theory model “author – text – reader (or, sender – message – receiver) by adding two more components to it: [..] software used by the author and by the reader”
Software takes Command ¨ Rosalind Krauss, post-medium condition (shift in the production of art that took effect around the 1970s and that meant the undermining of “medium specificity” in contemporary art) Marcel Broodthaers: Voyage on the North Sea. 
what are the histories of New Media? publication: on-line Domenico Quaranta: Beyond New Media Art, online free download http://issuu.com/linkeditions/docs/domenico_quaranta_beyond_new_media_art
Art Basel Conversation with Bourriaud, Weibel, Grey.2013,  
Plants-Androids-and-Operators-A-Post-Media-Handbook download 4
Post-digital, once understood as a critical reflection of “digital” aesthetic immaterialism, now describes the messy and paradoxical condition of art and media after digital technology revolutions. “Post-digital” neither recognizes the distinction between “old” and “new” media, nor ideological affirmation of the one or the other. It merges “old” and “new”, often applying network cultural experimentation to analog technologies which it re-investigates and re-uses. It tends to focus on the experiential rather than the conceptual. It looks for DIY agency outside totalitarian innovation ideology, and for networking off big data capitalism. At the same time, it already has become commercialized. Aarhus University and transmediale, Berlin, 2013
Postdigital is a term which has recently come into use in the discourse of digital artistic practice. This the term points significantly to our rapidly changed and changing relationships with digital technologies and art forms. It points to an attitude that is more concerned with being human, than with being digital. If one examines the textual paradigm of consensus, one is faced with a choice: either the “postdigital” society has intrinsic meaning, or it is contextualised into a paradigm of consensus that includes art as a totality.
The New Aesthetic and Art: Constellations of the Postdigital
Transmediale 2014 Afterglow festival of the digital revolution as a starting point to deal with some of the burning issues of today and to invent new speculative practices  a-post-media-anthology  pdf book
 New Aesthetic and Art, Constellation of the Postdigital,2016
general links to historical issues