By Joanna Merwood-Salisbury, Kent Kleinman, Lois Weinthal
Kent Kleinman, Joanna Merwood-Salisbury, Lois Weinthal (eds.)
What is style? This well-curated assortment files new theories and rising serious practices within the box of inside layout. It investigates style, an idea critical to the formation of the self-discipline within the eighteenth century that was once repudiated via architects within the early 20th century, yet which maintains to play an immense position in inside layout this present day. Essays by way of historians and critics are complemented through interviews with practitioners at the margins of normative perform and portfolios of the paintings of latest designers.
"This clean, perceptive, and provocative examine our career merits a large audience." --Interior Design
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Extra info for After Taste: Expanded Practice in Interior Design
How might I respond? I could respond in kind, pointing to aspects of the playing that I took to express sensitivity to line and structure; or I could complain that what you call colorist playing I think of as romantic sweep. Substantive argument—and not simply rhetorical head butting—is possible. And in such debate, the stakes could be inordinately high; we could be arguing over how best to interpret the achievement of a particular composer, and therefore what the authority of a certain type of musical structure comes to.
Particularization is a habit of the simple mind. The most vivid example of this tendency is also one of the earliest: Plato modeled the entire sensible world as ontologically transient, unreliable, and deceptive, a mere instance of immutable forms residing elsewhere. For Plato the entire sensible world was shallow. The counter notion, namely that depth is not the only place to look for knowledge, is of somewhat recent vintage but widely embraced by those with a semiological bent. One of the most adamant critics of the methodological shovel, and one of the most lucid advocates of a mode of inquiry that does not involve digging, was the anthropologist Clifford Geertz.
So works of art, things designed in the mastering and including of subjectivity in their construction of an empirical whole, are aligning how things are with how they are meant to strike one, how we feel in knowing them with what we know in feeling them. Because feeling here is neither simply or immediately causally triggered, like the taste of vanilla, nor mediated by a concept, like the empirical features of the object (“This is red”), but a constructed and orderly feature of the object that calls for a sensuous response of a certain kind, then there is the gap, between pattern and agreement, that permits the retreat into mere preference.