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An Aesthetics of Everything Else: Craft and Flat Ontologies
The Journal of Modern Craft Pub Date : 2019-09-02 , DOI: 10.1080/17496772.2019.1678867
Barbara Wisnoski

Abstract This article considers everyday experience as a defining condition of craft, which has largely escaped scholarly attention. Responding to a discursive moment in craft history in which its theoretical stance as the “other” of art and industry has been thoroughly explored, I turn to philosophical sources of aesthetic theory that encompass the experience of ordinary making. I argue that the flat ontologies put forth by New Materialism, which can be related to older ideas in John Dewey and Indigenous thought, offer a return to a less fragmented creative landscape in which craft is the ground for all creative practice. Drawing on art historical examinations of the counterculture and neo-avant garde movement Fluxus, I show how flattened aesthetic frameworks, what I call flat aesthetics, recognize the ordinary experience of making in relational terms, as part of a dynamic network of agential forces. I conclude by speculating that understanding everyday craft in this way holds potential to renew its relevance and pertinence to the ethical pursuit of “the good life.”

中文翻译:

其他一切的美学:工艺和平面本体

摘要 本文将日常经验视为工艺的定义条件,而这在很大程度上已被学术界关注。为了回应工艺史上的一个话语时刻,在这个时刻,它作为艺术和工业的“他者”的理论立场得到了彻底的探索,我转向了包含普通制作经验的美学理论的哲学来源。我认为,新唯物主义提出的扁平本体论可能与约翰杜威和土著思想中的旧思想有关,它提供了一种回归不那么分散的创造性景观,其中工艺是所有创造性实践的基础。通过对反主流文化和新前卫运动激浪派的艺术史考察,我展示了扁平化的美学框架,我称之为扁平化美学,认识到在关系方面的普通制造经验,作为代理力量的动态网络的一部分。最后,我推测以这种方式理解日常工艺有可能更新其与“美好生活”的道德追求的相关性和相关性。
更新日期:2019-09-02
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