Design and Aesthetics: A Reader
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Design and Aesthetics: A Reader is a comprehensive student reader on design history and aesthetic theory. It includes contributions from many of the writers whose work has been foundational to these two fields, including classic articles by Raymond Williams and Roger Scruton, and newer articles which provide an overview of current concerns and debates.
The role of design in the world today has aroused much controversy. The first half of this book deals with the main arguments which have emerged from contemporary analysis of its role in the communication process. Essays focus on the question of absolute aesthetic standards versus cultural relativism, and the role of objects in cultural and social life. The second part turns to particular areas of design history, ranging from architecture and pottery to the history of dress. These two main sectors are prefaced by contextualising introductions by Jerry Palmer and Mo Dodson.
discourse, I have in mind the many variants of philosophical aesthetics which exhibit related properties in their attempts to distinguish some unique faculty, lodged within and constitutive of human subjectivity, which would serve as a basis for establishing the potential, if not actual, universality of aesthetic judgement. Aesthetic discourse, that is to say, construes the aesthetic as a distinctive mode of the subject’s mental relation to reality. The means by which this is accomplished vary
cultural capital although it often takes on necessarily, as part of the strategy, the line-aments of political radicalism, of opposition to the bourgeoisie, requires existing membership of the dominant fraction of the dominant class to be a viable strategy. Thus Bourdieu argues specifically against Sartre’s psychological analysis of Flaubert’s artistic development, arguing that this cannot explain the properly sociological fact that all the leading practitioners and theorists of Art for Art’s
When he is arguing, correctly, that many Marxists overlook, or acknowledge as mere banalities, our fundamental physical-material existence and processes, it is remarkable how often he specifies this existence and these processes in their negative and limiting capacity, and how rarely in any other sense. He is, of course, right to specify the effects of old age, of disease, of inherited physical disabilities; as he is right also to specify the predictable end of the solar system and the continuing
building by its abstract significance unless that significance first affects our experience of the building. If I support my favourable judgement of a building by reference to its meaning, then this reason can only justify my preference, and indeed can only be part of what leads me to that preference (a part of my reason for the preference) if the meaning is revealed in an experience. To refer to history, anecdote, association, function and so on—all this must be irrelevant in the justification
Sexes’: ‘Women purify the atmosphere wherever they go,’ said the lady. ‘Many women do,’ returned Julius, ‘but will they retain that power universally if they succeed in obtaining the position where there will be less consideration for them, and they must be exposed to a certain hardening and roughening process?’ (Yonge 1876:162) We are back in the Woman’s World of eight years earlier. Apart from its conventionally romantic aspects the two themes of the Three Brides—women’s rights and healthy