In looking to artists and designers from previous movements, innovators we’ve historically documented are known for novel visuals, but arrived at their novel visuals through exploring (new?) ideologic territory; experimenting with different ways of thinking. Avant garde visuals stemming from these movements were the result of the ideas (or ideals) to come out of their novel thinking, not really the main ideas themselves. Our past is not about style for style’s sake, but style that illuminates a theoretical position (or at least style that is arrived at from a thought
process, from a set of values, or from some set of hypotheses).
Study aesthetics and form making methods from multiple time periods, cultures, and ideologies. How might new forms be derived from these? what ideologies are these times/cultures/etc. working from? where do ideologies overlap?
Re: https://www.are.na/burton-booz/agro-aesthetics, Burton's inclination is that the clean/sterile aesthetics of agricultural conglomerate websites are intended to obscure intentions or instill a sense of trust in visitors.
I think this seems relatively self-explanatory, but it's a useful starting thought that ties into a central thesis of mine: ideologies sublimate into forms and aesthetics through a process of ideological repression.
Every design problem begins with an effort to achieve fitness between two entities: the form and its context. The form is the solution to the problem; the context defines the problem.
(From Notes on the Synthesis of Form)