Aesthetic evolution is a fact in user interfaces as much as it is in other functional objects like automobiles, furniture, and architecture. Priorities in trade-offs between things like information density and rapid visual navigation are also subject to this kind of change. Part of that evolution is influenced by technical context, such as what has become possible or practical that wasn’t before. Part of that evolution is influenced by cultural context, including both art and the aesthetics of physical objects (or software). Successful UI in Japan is strikingly different than it is elsewhere, even allowing for differences in language.

One of the things that all user interfaces do is marshal user attention, and newness or freshness is one tool for that. That can be used to advantage or disadvantage users, but it is a constant pressure for change in user interfaces.

The term Modern in user interfaces tends to translate as “inspired by the Functionalist school of Industrial Design, particularly as exemplified by Dieter Rams at Braun and Apple’s Industrial Design team under Jonny Ive”. There’s functional value to freshness, so the definition isn’t static, but the term Modern means something other than new or contemporary.

It isn’t a waste of time for producers and critics (in the neutral sense) of user interfaces to learn some art history, architectural history, and history of Industrial Design.