By Joanna Merwood-Salisbury, Kent Kleinman, Lois Weinthal
Kent Kleinman, Joanna Merwood-Salisbury, Lois Weinthal (eds.)
What is flavor? This well-curated assortment records new theories and rising severe practices within the box of inside layout. It investigates style, an idea significant to the formation of the self-discipline within the eighteenth century that used to be repudiated via architects within the early 20th century, yet which maintains to play a huge position in inside layout this present day. Essays by way of historians and critics are complemented by means of interviews with practitioners at the margins of normative perform and portfolios of the paintings of up to date designers.
"This clean, perceptive, and provocative examine our career merits a large audience." --Interior Design
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Extra resources for After Taste: Expanded Practice in Interior Design
In the arts and in criticism about the arts, the ambition is different; it is to latch on to those features of the material environment to which a sensory response is the only one available but which are nonetheless capable of being non-accidentally shared, shareable because of their rightness, so to speak. Thus, the reason why there is a dislocation between patterns of support and convergence in a conclusion upon which all can agree in aesthetic matters is that the structure of empirical features constituting the object judged—its being composed of just these sounds or just those shapes and colors in that sequence—is also, at the same time, a structure or order or logic of feeling that demands or calls for a certain (sensuous) response in 47 Tast y the perceiver.
That said, purposiveness without purpose is precisely the thought necessary to make sense of the “decorative,” what is designed but without function. Purposiveness without purpose is equally the engine making abstract art possible. , 219. ” 52 J. M. Bernstein 14 Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (New York: Oxford University Press, 1985), 288. , 290. , 291. 17 For one of my attempts to demonstrate the possibility and significance of nondiscursive cognition see my Against Voluptuous Bodies: Late Modernism and the Meaning of Painting (Stanford, CA: Stanford University Press, 2006).
A direct spinoff of this paradigm is the explosion of aesthetic practices and scholarship that treat the most individualized of surfaces, namely skin, as a site for creative and cultural expression. The notion of treating skin as a site of signification is certainly not new. 12 The skin was, so to speak, a stratum on which was inscribed a widely legible social code. In the agora, it was entirely possible to be inappropriately naked, or properly nude. But if skin as a site for cultural signification is not new, scholarship on it is.