Editors' Introduction

A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue

Introduction : photography between art history and philosophy

The essays collected in this special issue of Critical Inquiry are devoted to reflection on the shifts in photographically based art practice, exhibition, and reception in recent years and to the changes brought about by these shifts in our understanding of photographic art. Although initiated in the 1960s, photography as a mainstream artistic practice has accelerated over the last two decades. No longer confined to specialist galleries, books, journals, and other distribution networks, contemporary art photographers are now regularly the subject of major retrospectives in mainstream fine-art museums on the same terms as any other artist. One could cite, for example, Thomas Struth at the Metropolitan Museum in New York (2003), Thomas Demand at the Museum of Modern Art (MoMa) (2005), or Jeff Wall at Tate Modern and MoMA (2006–7). Indeed, Wall’s most recent museum show, at the time of writing, The Crooked Path at Bozar, Brussels (2011), situated his photography in relation to the work of a range of contemporary photographers, painters, sculptors, performance artists, and filmmakers with whose work Wall considers his own to be in dialogue, irrespective of differences of media. All this goes to show that photographic art is no longer regarded as a subgenre apart. The situation in the United Kingdom is perhaps emblematic of both photography’s increasing prominence and its increased centrality in the contemporary art world over recent years. Tate hosted its first ever photography survey, Cruel and Tender, as recently as 2003, and since then photography surveys have become a regular biannual staple of its exhibition programming, culminating in the appointment of Tate’s first dedicated curator of photography in 2010. A major shift in the perception of photography as art is clearly well under way

Dinner

Dinner is an interactive exhibition which presents appropriated works of art collected and hung in a clustered salon style, as well as a fully realized recreation based on a 16th century Dutch banquet still-life, which presents guests with meats, cheeses, fruits, vegetables, breads, and wine to share and imbibe. Dining ware is provided for guests at the entrance to the exhibit, as are suggested topics of conversation, which are presented on slips of paper for guests to carry with them throughout their time in the space. Within the collection of wall-mounted works are references to ancient Greek and Roman marble statues, portraits of European elites spanning the 17th and 18th century, and more modern children’s cartoons from the 1980s and 90s. The disparate references align into a singular motif by using repetition of color, pose, framing and material within the artworks. This installation explores themes of beauty, class, privilege, history, excess, and humor while providing a space for cultivating deeper conversations on said subjects through the act of sharing, looking, and eating

Directions For A New Aestheticism

The idea of a new aestheticism is now explicit in both philosophical aesthetics and cultural theory with the publication of Gary Iseminger's The Aesthetic Function of Art and an anthology of essays edited by John Joughin and Simon Malpas critiquing the anti-aestheticism of literary theory. Both are significant in marking a wider trend reacting to, broadly speaking, intellectualised and historicised accounts of art, refocusing on the idea of appreciation itself, and working away from the emphasis on ideology and disregard for the particularity of works in, especially, literary theory. This broader context also includes renewed debates running within philosophical aesthetics about non-perceptual aesthetic properties and the aesthetic experience of conceptual artworks, and about beauty in art, considerations that have engaged two philosophers normally identified by their commitment to art theoretical and historical (and by extension, non-aesthetic) accounts of artistic making and viewing, namely Noël Carroll and Arthur Danto. So Carroll acknowledges that what's at stake is an aesthetic theory of art that is potentially 'back in business', while Danto's 'surprising' theoretic re-engagement with the concept of beauty has been noted by Diarmuid Costello

The Rhythm of our Lives. Aesthetic Perspectives East & West

The leading approach to everyday aesthetics for the past few decades has departed from analytic philosophical grounds, generating some tensions or dichotomies regarding its foundational cornerstones: the ordinary vs. extraordinary character of everyday aesthetic experience, contextual familiarity vs. strangeness, object vs. processual orientation, etc. Although John Dewey has been widely acclaimed as a sort of foundational figure for this burgueoning sub-discipline of aesthetics, maybe not enough emphasis has been laid on his very different pragmatist approach. In this regard, his reliance on Hegelian cum Darwinian premises might allow for a connection with other branches of continental as well as Asian philosophies, from which also some research on everyday aesthetics has been made. It is from this wider ontological framework that the notion of rhythm could be vindicated as a pivotal aspect of the aesthetic dimension of our everyday lives. Dewey deals extensively with it in Art as Experience, conceiving it as a sort of pattern of accomplished experiences, accounting also for his naturalistic approach and art and life continuity thesis. On the other hand, neo-pragmatist exponent Richard Shusterman, among others, has posited links of connection between Pragmatist aesthetics and East-Asian philosophies. Particularly, Dewey’s resonances with Asian philosophies have been studied, with a preeminence on the notions of harmony and rhythm. This paper will depart from the analysis of the notion of rhythm in Dewey’s philosophy, trying to hint at some possible developments of its implications. Particularly, it will expand on some East Asian paralelisms to his philosophy, trying to link them with the notion of rhythm as an epitomizing ground for the conjunction of the extraordinary (art) and the ordinary (life).Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Interaction Design: Foundations, Experiments

Interaction Design: Foundations, Experiments is the result of a series of projects, experiments and curricula aimed at investigating the foundations of interaction design in particular and design research in general. The first part of the book - Foundations - deals with foundational theoretical issues in interaction design. An analysis of two categorical mistakes -the empirical and interactive fallacies- forms a background to a discussion of interaction design as act design and of computational technology as material in design. The second part of the book - Experiments - describes a range of design methods, programs and examples that have been used to probe foundational issues through systematic questioning of what is given. Based on experimental design work such as Slow Technology, Abstract Information Displays, Design for Sound Hiders, Zero Expression Fashion, and IT+Textiles, this section also explores how design experiments can play a central role when developing new design theory

Beyond words: Aesthetic knowledge and knowing in design

Aesthetic knowledge comes from practitioners understanding the look, feel, smell, taste and sound of things. It is vital to work in many organizational contexts. In this paper, we explore aesthetic knowledge and knowing in organizations through detailed observation of design work in the architectural practice Edward Cullinan Architects. Through our research, we explore aesthetic knowledge in the context of architectural work, we unpack what it is, how it is generated, and how it is applied in design projects, shared between practitioners and developed at the level of the organization. Our analysis suggests that aesthetic knowledge plays an important part in organizational practice, not only as the symbolic context for work, but as an integral part of the work that people do. It suggests that aesthetic reflexivity, which involves an opening up and questioning of what is known, is experienced as part of practice as well as a `time out' from practice

Determinants of impact : towards a better understanding of encounters with the arts

The article argues that current methods for assessing the impact of the arts are largely based on a fragmented and incomplete understanding of the cognitive, psychological and socio-cultural dynamics that govern the aesthetic experience. It postulates that a better grasp of the interaction between the individual and the work of art is the necessary foundation for a genuine understanding of how the arts can affect people. Through a critique of philosophical and empirical attempts to capture the main features of the aesthetic encounter, the article draws attention to the gaps in our current understanding of the responses to art. It proposes a classification and exploration of the factors—social, cultural and psychological—that contribute to shaping the aesthetic experience, thus determining the possibility of impact. The ‘determinants of impact’ identified are distinguished into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and ‘environmental factors’, which are extrinsic to both the individual and the artwork. The article concludes that any meaningful attempt to assess the impact of the arts would need to take these ‘determinants of impact’ into account, in order to capture the multidimensional and subjective nature of the aesthetic experience

'Don't box me in': Blurred lines in 'Waking Life' and 'A Scanner Darkly'

This is the author's accepted manuscript. The final published article is available from the link below.This article seeks to evaluate the visual style of Waking Life and A Scanner Darkly, predominantly through an analysis of the films’ aesthetics. The use of Rotoshop as an expressive means to illustrate character and theme, where identity becomes sketched and multi-faceted rather than fixed or stable is explored here. Yet this aesthetic play with borders has a greater resonance than simply a means by which to delineate thematic preoccupations with troubled identity. While such representations are indeed key to these two films, the darkly outlined contours of character borders, which move and slide incessantly, also comment on the blurred divide between live action and animation. Central to the argument is the use of the animated line in understanding these two films; the line provides impetus for exploring several issues raised by the films and the use of Rotoshop. This article explores the following key ideas: the animated line and aesthetic analysis; Rotoshop technology; the representation of fragmentary identity; and the relationship between photo-real cinema and animation, with a particular focus on narrative and spectacle. The author addresses Rotoshop within the context of technology and spectacle; taking industry practices into account allows for an appreciation of how a technological innovation such as Rotoshop can change the shape of live-action cinema