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by Jane Forsey

ePub The Aesthetics of Design download
Author:
Jane Forsey
ISBN13:
978-0199964369
ISBN:
019996436X
Language:
Publisher:
Oxford University Press; 1 edition (January 16, 2013)
Category:
Subcategory:
Humanities
ePub file:
1383 kb
Fb2 file:
1910 kb
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Rating:
4.2
Votes:
606

Jane Forsey, who has already written a few significant articles in aesthetics, one published in the . What we did not have until this book is a serious approach to the aesthetics of design from the side of professional philosophy.

Jane Forsey, who has already written a few significant articles in aesthetics, one published in the prestigious Journal of Aesthetics and Art Criticism, has embarked here on an excellent and much-needed project: to develop an aesthetics of design. Of course there already is a lot of work on the aesthetics of design, mainly written by design professionals. As Forsey observes, philosophical aesthetics has virtually ignored design.

Here Forsey adapts the Kantian notion of dependent beauty to provide a model for our appreciation of design as different from our judgements of art, craft and natural beauty.

Aesthetic theory has traditionally occupied itself with fine art in all its forms, sometimes with craft, and often with notions of beauty and sublimity in art and nature. In so doing, it has largely ignored the quotidian and familiar objects and experiences that make up our daily lives. Here Forsey adapts the Kantian notion of dependent beauty to provide a model for our appreciation of design as different from our judgements of art, craft and natural beauty. Finally, design is important for aesthetics and philosophy as a whole in that it is implicated in broader human concerns.

Philosophy of design is the study of definitions of design, and the assumptions, foundations, and implications of design. The field, which is mostly a sub-discipline of aesthetics, is defined by an interest in a set of problems, or an interest in central or foundational concerns in design. In addition to these central problems for design as a whole, many philosophers of design consider these problems as they apply to particular disciplines (.

Oxford University Press (2013). Similar books and articles. University of Winnipeg. The Design of Material, Organism, and Minds: Different Understandings of Design.

Therefore, my thoughts about Jane Forsey's book, The Aesthetics of Design, will relate more closely to design studies than to the philosophy of aesthetics, although in this brief essay I will say something about both

Therefore, my thoughts about Jane Forsey's book, The Aesthetics of Design, will relate more closely to design studies than to the philosophy of aesthetics, although in this brief essay I will say something about both. To begin, I should state that The Aesthetics of Design is a welcome addition to the design studies literature, even though Forsey has directed it to aestheticians whom she would like to take design more seriously

Aesthetics of Design, Forsey Jane. Сейчас книги нет в продаже. Возможно появится в будущем.

Aesthetics of Design, Forsey Jane.

The aesthetics of design, Jane Forsey. pages cm Includes bibliographical references. Everyday Aesthetics and Design 1. The Critique of Aesthetics 2. The Expansion of Aesthetics i. Saito: Activity, Pleasure, Indeterminacy ii. Haapala: The Strange, the Familiar, and the Sense of Place. ISBN 978–0–19–996436–9 (hardcover : alk. paper) 1. Aesthetics. 2. Design-Philosophy. 85-dc23 2012026324 ISBN-13: 978–0–19–996436–9 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper. indd iv. 11/1/2012 7:34:08 PM. For Bill, who has a very nice, if slightly inferior, coffee-pot. 3. Design and the Everyday.

The aesthetics of design. 1 2 3 4 5. Want to Read. Are you sure you want to remove The aesthetics of design from your list? The aesthetics of design.

Oxford University Press. A. ISBN10 : 9780190600426, ISBN13 : 019060042X.

The Aesthetics of Design offers the first full treatment of design in the field of philosophical aesthetics. Aesthetic theory has traditionally occupied itself with fine art in all its forms, sometimes with craft, and often with notions of beauty and sublimity in art and nature. In so doing, it has largely ignored the quotidian and familiar objects and experiences that make up our daily lives. Yet how we interact with design involves aesthetic choices and judgements as well as practical, cognitive and moral considerations. This work challenges the discipline to broaden its scope to include design, and illustrates how aesthetics helps define our human concerns.Subjecting design to as rigorous a treatment as any other aesthetic object exposes it to three main challenges that form the core of this book. First, design must be distinguished from art and craft as a unique kind of object meriting separate philosophical attention, and is here defined in part by its functional qualities. Second, the experience of design must be defended as having a particularly aesthetic nature. Here Forsey adapts the Kantian notion of dependent beauty to provide a model for our appreciation of design as different from our judgements of art, craft and natural beauty. Finally, design is important for aesthetics and philosophy as a whole in that it is implicated in broader human concerns. Forsey situates her theory of design as a constructive contribution to the recent movement of Everyday Aesthetics, which seeks to re-enfranchise philosophical aesthetics as an important part of philosophy at large.
  • Excelent!

  • Jane Forsey, who has already written a few significant articles in aesthetics, one published in the prestigious Journal of Aesthetics and Art Criticism, has embarked here on an excellent and much-needed project: to develop an aesthetics of design. Of course there already is a lot of work on the aesthetics of design, mainly written by design professionals. What we did not have until this book is a serious approach to the aesthetics of design from the side of professional philosophy. As Forsey observes, philosophical aesthetics has virtually ignored design. The main emphasis in contemporary aesthetics has been in the aesthetics of art, with some increasing interest in the aesthetics of nature. However, this is changing with the rise of the aesthetics of everyday life, or what is sometimes called "Everyday Aesthetics." Continental Philosophers and Pragmatists (notably John Dewey) had already done some spade-work here. However philosophers in the Analytic tradition have only recently come to seriously regard this new field. This is evidenced by the fact that sessions on everyday aesthetics have, in the last couple years, become regular features in both annual and regional conferences of the American Society for Aesthetics. This is a "cutting edge" field in aesthetics. Forsey has read and thought about the leading books in this field on the analytic side: Functional Beauty by Allen Carlson and Glen Parsons and Everyday Aesthetics by Yuriko Saito. She also does a good job with Arto Haapala's Heidegger-inspired work.

    The main theses of the book are (1) that there should be an aesthetics of design, and (2) that design is to be distinguished from both art and craft in certain specified ways. She has thoroughly proved the first thesis, and I believe that this will be the lasting impact of the book. The second will, of course, be controversial (particularly her claim that design has no meaning-content and cannot be expressive). However, Forsey has made a good shot at defining design. Her position is plausible and well-defended, and future work on the aesthetics of design will have to take it into account.

    Forsey also provides a very good discussion of the similarities and differences between design, art and craft. She places special emphasis on everyday experience of design. It would be easy to neglect this dimension in favor of the exquisite art-like works of design stars, but she wisely avoids this. I disagree however, when she dismisses interest in the work of design stars as cultish. Some way of reconciling the two sides of design: the practical side and the art-like side is needed. Her project is also important for aesthetics in general. She is quite correct that nurturing the aesthetics of everyday life, including the aesthetics of design, tends to break down the often self-imposed isolation of aesthetics from mainstream philosophy. Her statement, "Everyday Aesthetics, in its attempt to broaden the scope of the aesthetic, can be read as attempting simultaneously to re-enfranchise philosophical aesthetics as an important part of philosophy at large" (199) is exactly right, and this is one of the reasons for the increasing importance of this new field.

    Forsey has a very strong grasp of the leading tendencies in the everyday aesthetics movement. She makes the appropriate observation that it is (a) not yet sufficiently rigorous (what one would expect with a movement that is so young) and (b) too quick to dismiss ideas of mainstream aesthetics. She is also correct that these two are tied. She does a good job of describing differences between Glen Parsons and Allen Carlson on the one side and Yuriko Saito, Sherri Irvin and other Deweyans on the other. She correctly points out weaknesses in both positions, and tries to find the appropriate middle path. The main problem in everyday aesthetics is how to distinguish ordinary non-aesthetic pleasures from pleasures that are aesthetic and yet are not pleasures taken in an art form. Forsey is well aware of this and tries to find the right dividing line.

    I love the cover which features a coffee pot that also plays an important role in the discussion.