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Author Tay Kheng
Soon |
2001 Aesthetics
consists of sense-categories independent of meaning, taste or beauty.
Aesthetics operates primarily in sense and not in rational thought. Aesthetic
categories are therefore distinct but not static. Interacting with thought
enables it to respond to inscribed and ascribed meaning, supporting it and is
itself modified in the process but there are limits. Thus, aesthetics can be
conceived as a somewhat pliable vehicle on which a cargo of meaning is
carried. When the vehicle is adequate, the cargo is satisfactorily carried.
When there is full integration, a work of beauty and order is present. When
inadequate, there is aesthetic disorder. Art is the extreme extent of successful
interaction. Such art may not be immediately accepted by society as beauty
but will in time be accepted because beauty is a socialised amalgam of
aesthetics and significant meaning. Bad Kitsch is when the content or cargo
is unsupported by the vehicle. Good kitsch is aesthetically supported. Appreciation
and pleasure-in-things, events and spaces captivates the senses only when
aesthetics is present to articulate, cohere and make consistent the cargo of
meaning inscribed or ascribed to the thing. A masterful artist or designer is
one who integrates aesthetics and meaning to the greatest extent. Kinship of
form Adjacency and
proximity Clustering Aggregating
through kinship Aggregating
without kinship through sheer proximity Grammar of
different construction materials Balance of
visual weights Scale and
pace relationships Distinction
by scale Distinction
by colour Distinction
by form Distinction
by spacing Continuity of
line Continuity of
form Continuity of
space Connectivity
of space Pattern
connectivity Tectonic
connectivity Tectonics of
space Tectonic of
form Sustainable
interval Rhythmic
progression Horizontal
incrementality Vertical
incrementality Integrity of
plane Integrity of
surface Independency
of object Independency
in space Separating
from another Associating
with another Distinction
by contrast Distinction
by distancing Distinction
by distortion Distinction
by colour Distinction
by form Rectilinear
regularity Rectilinear
plasticity Non-rectilinear
plasticity Symmetrical
axiality Asymmetrical
plasticity Symmetrical
regularity Curvilinear
plasticity Shearing
spatialisation Shearing form Curvilinear
spatialisation Curvilinear
form Disaggregated
spatialisation Aggregated
spatialisation Layered
spatialisation Transparent
spatialisation Ambiguous
layered spatialisation Singularity Repetition Merging
formal transformation Rectilinear
Meshing Non-rectilinear
meshing Veiling Shading Attenuating Interruption Break point Formal
Transition point Directionality Reflection Inflecting Resonating Concavity Convexity Anticipating Terminating Acceleration Deceleration Implied
spaces Defined
spaces Flowing
spaces Connecting
spaces Centralising Edging Delineation Emphasis Implied
emphasis Emphatic
emphasis Layering Sequencing Tension Tautness Slackness Shearing Occluding Ambiguity Indeterminacy Affirmation Repudiation Cancellation Absence Trace
suggestion Reception Repulsion Centrifugality Centripetality Radiation Convergency Divergency Cushioning Inflection Rotation Anchoring |
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