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Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
Aesthetics 1 semester 1
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Aesthetics 1 semester 1

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summary of an article on design interaction

summary of an article on design interaction

Published in: Design
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  • 1. Evaluating Aesthetics in Design
    • A Phenomenological Approach
    • link this article to my film of clairvoyance, the “extra” sense, the blurring of subject & object
  • 2. The Aesthetic challenge for designers
    • Challenge to work consciously & strategically with the SENSUOUS impact of design
    • drawing attention to the SENSUAL
    • i.e. the concept of AMBIENCE
    • (enhanced perception)
    • 2. Communicative self-reflection : way in which design communicates & how it can be coded aesthetically in its construction of meaning
  • 3. aesthetics: the neglected area of research the relationship between surface, appearance, styling and functionality
  • 4. Historically scientific discourse focussed on…….
    • methodology
    • the impact of culture (making & consuming)
    • rather than on the “EMOTIONAL” factors.
    • Design = a meeting point of multiple interests, a practice of innovation & change, problems & solutions
  • 5. Aesthetics – applied to Panton & Campbell
    • Form & Sensuous Experience
    • Aesthetics is no longer the preserve of art but applies to our immediate sensuous experience of the world.
    • Appeal to the senses
    • Communication that challenges experience
    • Role of form
  • 6. Return to original ideas
    • “ Aistheta” ‘that which can be sensed’ & the very perception of reality (aesthetically)
    • Schusterman, Seel & Bohme
    • Logos “doctrine” of “phainomenon” ‘that which shows itself’
    • Merlau-Ponty: interlaced structures
    • aesthetics & sensuous experience
  • 7. Blurring of subject & object
    • Reciprocally intertwined
    • Impossible to separate the experiencing subject from the experienced world
    • Sensing/viewing subject can be sensed or viewed & become an object
    • The flesh “la chair” – density of the flesh
    • Bohme develops ambience further; things, situations, surroundings – essential reality
  • 8. Ambience
    • First reality – coexistence of subject & object
    • Synaesthesia – ambience is experienced
    • Made or manipulated too
    • (commercials, architecture)
  • 9. Structure of appearance: Panton & Campbell
    • Gesamtkunstwerk – surrealist / psychedelic
    • ambience of colour, texture, fabric, layers, materials, surfaces, elements of form as variations of geometry
    • Panton intensifies the ambience – the immediate appearance of the world (Seel), the pure present
    • (pictures)
  • 10. Communicative self-reflection
    • The invisible idea or meaning (Merleau-Ponty)
    • Its double & its depth
    • Transparence behind the sensible
    • MP breaks with the metaphysic…
    • Idea – structure of immanent transcendence
    • every design has an idea, a dimension of immaterialty – a matter of communication!
  • 11. Added Quality
    • Adorno – the other, the negation of the given
    • “ the non-being in the works of art is a constellation of being”
    • art produces something “more”
    • Herstellung des Mehr
    • an “otherness”
    • surplus of meaning (Seel)
  • 12. Working with aesthetics: Campbell
    • the diagram (animation)
    • How design performs or reflects meaning in its physical form….
    • how it relates to the kind of self-reflective “aesthetic function” where it displays a surplus of meaning
    • x = relation to aesthetic function
    • y = reflection of the idea
  • 13. Framework for conceiving Aesthetics in Design concept design natural mapping Non-surplus in appearance “ functionality” anonymous design lifestyle design Surplus in appearance “ aesthetics” indirectly mediating the idea directly displaying the idea

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