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Author: Mads Nygaard Folkmann
Publisher: MIT Press
ISBN: 026201906X
Category : Design
Languages : en
Pages : 289
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Book Description
A theoretically informed investigation that relates the philosophies of aesthetics and imagination to understanding design practice. In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research. Folkmann considers three conditions in design: the possible, the aesthetic, and the imagination. Imagination is a central formative power behind the creation and the life of design objects; aesthetics describes the sensual, conceptual, and contextual codes through which design objects communicate; the concept of the possible—the enabling of new uses, conceptions, and perceptions—lies behind imagination and aesthetics. The possible, Folkmann argues, is contained as a structure of meaning within the objects of design, which act as part of our interface with the world. Taking a largely phenomenological perspective that reflects both continental and American pragmatist approaches, Folkmann also makes use of discourses that range from practice-focused accounts of design methodology to cultural studies. Throughout, he offers concrete examples to illustrate theoretical points. Folkmann's philosophically informed account shows design—in all its manifestations, from physical products to principles of organization—to be an essential medium for the articulation and transformation of culture.
Author: Mads Nygaard Folkmann
Publisher: MIT Press
ISBN: 026201906X
Category : Design
Languages : en
Pages : 289
Get Book Here
Book Description
A theoretically informed investigation that relates the philosophies of aesthetics and imagination to understanding design practice. In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research. Folkmann considers three conditions in design: the possible, the aesthetic, and the imagination. Imagination is a central formative power behind the creation and the life of design objects; aesthetics describes the sensual, conceptual, and contextual codes through which design objects communicate; the concept of the possible—the enabling of new uses, conceptions, and perceptions—lies behind imagination and aesthetics. The possible, Folkmann argues, is contained as a structure of meaning within the objects of design, which act as part of our interface with the world. Taking a largely phenomenological perspective that reflects both continental and American pragmatist approaches, Folkmann also makes use of discourses that range from practice-focused accounts of design methodology to cultural studies. Throughout, he offers concrete examples to illustrate theoretical points. Folkmann's philosophically informed account shows design—in all its manifestations, from physical products to principles of organization—to be an essential medium for the articulation and transformation of culture.
Author: Jane Forsey
Publisher: Oxford University Press
ISBN: 019060042X
Category : Art
Languages : en
Pages : 280
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Book Description
The Aesthetics of Design offers the first full treatment of design in the field of philosophical aesthetics, challenging the discipline to broaden its scope to include the quotidian objects and experiences of our everyday lives and concerns. In doing so, it contributes to the growing field of Everyday Aesthetics.
Author: Shierry Weber Nicholsen
Publisher: Springer Science & Business
ISBN: 9780262640404
Category : Philosophy
Languages : en
Pages : 286
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Book Description
In Exact Imagination, Late Work, Shierry Weber Nicholsen begins the process of appropriating Adorno through the centrality of the aesthetic dimension.
Author: George Stiny
Publisher: MIT Press
ISBN: 026254413X
Category : Design
Languages : en
Pages : 249
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Book Description
Visual calculating in shape grammars aligns with art and design, bridging the gap between seeing (Coleridge's “imagination”) and combinatoric play (Coleridge's “fancy”). In Shapes of Imagination, George Stiny runs visual calculating in shape grammars through art and design—incorporating Samuel Taylor Coleridge's poetic imagination and Oscar Wilde's corollary to see things as they aren't. Many assume that calculating limits art and design to suit computers, but shape grammars rely on seeing to prove otherwise. Rules that change what they see extend calculating to overtake what computers can do, in logic and with data and learning. Shape grammars bridge the divide between seeing (Coleridge's “imagination, or esemplastic power”) and combinatoric play (Coleridge's “fancy”). Stiny shows that calculating without seeing excludes art and design. Seeing is key for calculating to augment creative activity with aesthetic insight and value. Shape grammars go by appearances, in a full-fledged aesthetic enterprise for the inconstant eye; they answer the question of what calculating would be like if Turing and von Neumann were artists instead of logicians. Art and design are calculating in all their splendid detail.
Author: Anna Ichino
Publisher: Mimesis International
ISBN: 9788869772986
Category : Design
Languages : en
Pages : 152
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Book Description
What is the imagination's role in human cognition and culture? This book explores the hypothesis that such role is larger than we commonly think as it plays a key, direct role in our representation of (and practical engagement with) the real world itself.
Author: Gerald C. Cupchik
Publisher: Cambridge University Press
ISBN: 1316538826
Category : Psychology
Languages : en
Pages : 415
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Book Description
Gerald C. Cupchik builds a bridge between science and the humanities, arguing that interactions between mind and body in everyday life are analogous to relations between subject matter and style in art. According to emotional phase theory, emotional reactions emerge in a 'perfect storm' whereby meaningful situations evoke bodily memories that unconsciously shape and unify the experience. Similarly, in expressionist or impressionist painting, an evocative visual style can spontaneously colour the experience and interpretation of subject matter. Three basic situational themes encompass complementary pairs of primary emotions: attachment (happiness - sadness), assertion (fear - anger), and absorption (interest - disgust). Action episodes, in which a person adapts to challenges or seeks to realize goals, benefit from energizing bodily responses which focus attention on the situation while providing feedback, in the form of pleasure or pain, regarding success or failure. In high representational paintings, style is transparent, making it easier to fluently identify subject matter.
Author: Eric Herhuth
Publisher: Univ of California Press
ISBN: 0520292561
Category : Art
Languages : en
Pages : 252
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Book Description
Aesthetic storytelling: a tradition and theory of animation -- The uncanny integrity of digital commodities (Toy story) -- From the technological to the postmodern sublime (Monsters, Inc.) -- The exceptional dialectic of the fantastic and the mundane (The Incredibles) -- Disruptive sensation and the politics of the new (Ratatouille)
Author: Anthony Dunne
Publisher: MIT Press
ISBN: 0262019841
Category : Design
Languages : en
Pages : 235
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Book Description
How to use design as a tool to create not only things but ideas, to speculate about possible futures. Today designers often focus on making technology easy to use, sexy, and consumable. In Speculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be—to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again. Instead, Dunne and Raby pose “what if” questions that are intended to open debate and discussion about the kind of future people want (and do not want). Speculative Everything offers a tour through an emerging cultural landscape of design ideas, ideals, and approaches. Dunne and Raby cite examples from their own design and teaching and from other projects from fine art, design, architecture, cinema, and photography. They also draw on futurology, political theory, the philosophy of technology, and literary fiction. They show us, for example, ideas for a solar kitchen restaurant; a flypaper robotic clock; a menstruation machine; a cloud-seeding truck; a phantom-limb sensation recorder; and devices for food foraging that use the tools of synthetic biology. Dunne and Raby contend that if we speculate more—about everything—reality will become more malleable. The ideas freed by speculative design increase the odds of achieving desirable futures.
Author: Irving Massey
Publisher: University of Texas Press
ISBN: 0292752792
Category : Art
Languages : en
Pages : 249
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Book Description
Art and technology have been converging rapidly in the past few years; an important example of this convergence is the alliance of neuroscience with aesthetics, which has produced the new field of neuroaesthetics. Irving Massey examines this alliance, in large part to allay the fears of artists and audiences alike that brain science may "explain away" the arts. The first part of the book shows how neuroscience can enhance our understanding of certain features of art. The second part of the book illustrates a humanistic approach to the arts; it is written entirely without recourse to neuroscience, in order to show the differences in methodology between the two approaches. The humanistic style is marked particularly by immersion in the individual work and by evaluation, rather than by detachment in the search for generalizations. In the final section Massey argues that, despite these differences, once the reality of imagination is accepted neuroscience can be seen as the collaborator, not the inquisitor, of the arts.
Author: Karen Goldman
Publisher:
ISBN: 9781524943721
Category :
Languages : en
Pages :
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Book Description
