艺术设计外文文献.docx

Transformation of the Aesthetic: Art as Participatory Design Abstract This paper argues that the most significant, contemporary synthesis of art and design is occurring at the level of participatory projects, and not in the more customary fields of collusion (product design, for example). These projects are durational, experiential, and dialogic, and therefore I argue that traditional aesthetics based on the contemplation of objects and the analysis of representations does not adequately account for what amounts to an aesthetics of co-creation. To examine this transformation this paper surveys participatory art and design projects in a number of different fields and also some of the key critical literature around the aesthetics of collaboration and dialog. Finally it argues that art in the form of participatory design offers a political alternative to both the avant-garde tactic of adversarial “shock” and the notion of presenting a voice or an opinion in a neutral public sphere; rather it can be seen to modify – design – that sphere itself. Keywords：participatory design, participatory art, “designart,”, relational aesthetics, dialogical aesthetics Introduction Naturally there has been a long history of connection between art and design, and artists in particular have moved comfortably between the two spheres. In terms of the principles of classical aesthetics, however, design has been routinely associated with the mundane and the mercantile (and more critically with “kitsch”) rather than with the creative autonomy ostensibly enjoyed by the fine arts. More recently there has been an attempt to take a more favorable and nuanced approach to this relation in the critical literature. For example, Alex Coles has used the somewhat awkward term “designart” to refer to the long history of interaction between the two fields and in particular the interest in the 1990s in what he calls “art’s romance with design” (2005: 8). Coles believes the origin of this form of art is t