Everyday life is so awash in explicitly aesthetic appeals (ie, “the most beautiful way to check weather”) that I can instantly imagine an eye-catching infograph that helpfully orders app attributes as values of sensuous desire. We might need to revise Susan Sontag’s famous call for an erotics of art: “in place of a hermeneutics, we need an erotics of apps!”

How does the technocultural installation of some “gorgeous” layer between internet users and the cycles of life (e.g., sleep, fertility, seasonal, fiscal) shape the way we come to experience and know the world?  And of course, what is “beautiful” anyway? Who gets to define what it looks and feels like? These are questions of aesthetics, though not in the classical sense of pondering the philosophical problems of beauty and art. Once assumed to correspond with universal human values, perceptions of beauty have since been understood as mediated by taste, class, and racial and gendered cultural hierarchies that govern legitimacy.  Cultural studies expanded the field of what counted as “aesthetic” by turning from high art to the literature and popular culture of the working classes. As Raymond Williams puts it, “Culture is ordinary.” How might we probe what’s at stake in the digital beautification of everyday life? In this post, I examine the ambitious 2011 redesign of top global website, Google (Google+, Google Search, Maps, etc.)

Google’s First Aesthetic: Transparency

Built from the start with users in mind (mantra: “focus on the user and all else will follow”), the early Google Aesthetic presents simplicity, technology, usability, and engineering as a form of transparency. When the stark white Google search was introduced in 1998, it must have seemed positively un-designed compared with the bloated portals of the time. No, Google cut the crap by delivering nothing but fast, relevant search results. For a decade, using Google Search was kind of like using a calculator, which is to say, you just used it and expected it to work. With its famous suite of PageRank algorithms under lock and key, Google balanced its technical opacity with a transparent communication style that emphasized openness, accountability, informality, and playfulness, all of which felt algorithmically generated but human-inflected. This aesthetic of transparency isn’t confined to the giant white home page, of course. We catch another glimpse if we approach material like Matt Cutts’s “How Search Works” as an aesthetic performance as much as an instructional one.

There are plenty of advanced technologies here, but the tech layer is mediated through a veneer of “(expert guy)” friendliness: approachable, direct, playful, and above all, crystal clear. From the expansive white space to the affable sketchy wireframes, this Google Aesthetic is presented with such ease that we’re not meant to question this explanation (or indeed, understand this as an aesthetic) at all.  Of course, transparency equally conceals the white dudes’ in casualware who serve as interfaces to certain visions of computing. Ensconced in white space and doodles, Cutts becomes an aesthetic expression of what Siva Vaidhyanathan calls Google’s culture of Aptocracy, a world that rewards merit based on technical competence and quantifiable forms of achievement.

Google’s Aesthetic Turn: The OSbug

Google’s engineering-centric culture had a long reputation for downplaying design in favor of speed and efficiency. Who cares about beauty when your computer is a hulking beige box? But there’s a huge industry surrounding tablets and smart phones, now marketed as aesthetic objects aligned symbolically with gourmet chocolate, fine jewelry or luxury cars. Google was simplicity, technology, usability, engineering… but not beauty.

When Larry Page became Google CEO in April of 2011, he immediately made design Google’s top priority with the mantra: “One simple, beautiful, useful Google” (the “OSbug” for short). For the first time, Google set out to design and engineer a cohesive aesthetic experience that would unify the “look and feel” of the Google universe. It’s worth noting, then, that in the pursuit of “beautiful” interaction, Google designers were drawing inspiration not from the realm of the visual, but from the legacy of “ubiquitous computing” (ubicom) and the aesthetics of invisibility and seamlessness that were a hallmark of that vision.

Designers’ were asked what beauty means to Google and concluded it “involved the idea of simplicity, and deeper than that, of invisibility.”  For ChromeCast users, for example, “the beauty comes from the fact that it delights you and you don’t see it.” This disappearing act represents a downgrading of the primacy of the visual in favor of haptics, feedback, sound, navigational cues, etc., that work to create a cohesive sensation of a unified space (the OSbug). The shift to seamlessness or “invisibility” is not necessarily a bad thing: who wants to feel frustrated by devices and interfaces? But seamless is a double-edged sword. UX designers are thinking carefully about how users are embedded not just in the apps we use, but complex social framework of daily activity.

But it also raises some crucial questions: if we can no longer feel the seams, do we risk becoming so comfortable in our skin that “beautiful”  layers between us and the world begin to seem more and more like common sense? How might different users feel oriented (or disoriented) within information space? What kind of gendered or racial assumptions might “beautiful” interaction uphold or challenge? Whose needs and desires are being optimized by this particular expression of “beauty”?

This is the fifth post in Antenna’s new series The Aesthetic Turn, which examines questions of cultural studies and media aesthetics. If you missed any of the earlier posts in the series, they can be read here. Look out for regular posts in the series (most) every other Wednesday in January and beyond.

1. Happy Mother’s Day! Nielsen reports that among American moms, half have smartphones, and they love Facebook and Pinterest (Twitter, not so much). For the general US population, mobile data access is a big area of growth, while check-in apps are still mostly niche. In India, women use their phones more for talking and texting, whereas men do more web browsing.

2. “More video is uploaded to YouTube in one month than the 3 major US networks created in 60 years,” tweets a YouTube exec, with 60 hours of video uploaded every minute. Now there’s word that YouTube could add a premium subscription service. But with YouTube getting so vast, some are finding smaller competitors offer a better platform, especially for mobile sharing.

3. Ebay and Wal-Mart are looking to develop their own search engines to battle against Google’s dominance, right as a Google report insists that search engines have First Amendment rights, which would mean Google could pick and choose which content and in what order to load up for a search reply. But Google isn’t allowed to violate internet privacy the way it apparently did by hacking into Safari to track users. Microsoft might also be cheating by making Internet Explorer the only browser that will work right on the upcoming Windows RT system.

4. While the documentary has a storied history in Canada, filmmakers are having a hard time finding funding for documentaries today thanks to federal cuts. If they can dig up an extra $20,000 or so from someplace, those filmmakers can get their films into the DocuWeeks program, which will still be a conduit to Oscar nominations, over Michael Moore’s objections.

5. News out of the National Association of Theatre Owners CinemaCon convention included 20^th Century Fox planning to end 35mm film distribution next year, which will have complex consequences. Plus all manner of new theatrical magic is on its way, including lasers. A few theater chains are reporting a surge in attendance right now, while the AMC chain might be looking to sell to China.

6. Overall home entertainment spending is up for the first time in awhile, though that’s mostly thanks to digital streaming and Blu-ray, and not DVDs and rental stores, of course. Blu-ray might decline too once people realize they’ll now have to sit through two government warnings before getting to the movie.

7. Microsoft has invested in the Nook, which is now worth more than Barnes & Noble itself. B&N is trying to find ways to reconcile physical and online book sales without killing off the former, as possibilities for survival and the future design of physical books are up for speculation.

8. April was a bad month for video game sales, and while EA did well last year, investors didn’t like its weak outlook for this year. EA has big development plans, though its big investment in social gaming company Playfish hasn’t paid off yet, as a CityVille competitor has flopped.

9. Rovio had a huge year in 2011, thanks of course to Angry Birds and its one billion downloads, and the company is hoping to replicate that success with the new Amazing Alex. Zynga is also trying to recapture magic with a Farmville sequel. Zynga’s acquisition of Draw Something’s company doesn’t seem to be working out, but its cloud technology is apparently to be envied.

10. Some of the finer News for TV Majors posts from the past few weeks: Renewals/Cancellations/ Pickups, Request for Family Programming, Dish Ad Skipper, Aereo Warning, HBO No, TV Everywhere Trademark Fight, Dish Dropping AMC?, Just Cancel, Kutcher Ad Pulled, Online & TV Ad Buys, Nielsen on Viewing, Bloomberg Wins, Hulu Authentication Coming?, BSkyB Defending Itself, Murdoch Criticism, TV & Diversity.