Frames, Handles and Landscapes
Simmel 1965
A tools beauty springs from the many unintended and absolute causalities, instead of being a materialization of an aesthetic idea
The Thinking Hand
Pallasmaa
Affordances provide strong clues to the operations of things
Gibson
A psychology of causality is at work as we use everyday things
Donald Norman 2002
Perception of Environment/Relational Situations
Tim Ingold
A Species of Spaces
The Social Turn
Museum Site and Display
Political Philosophy
We have all the choice in the world in terms of products, but very little choice in terms of the kind of
economy within which those things are made, accessed and used
Whose Economy
Reframing the Debate
After Neoliberalism
Doreen Massey
Other 'material interventions' and the revaluation of making through strategies of repair and
maintenance
Making Ecological Politics
A world teeming with impulsive movements, deviations and many other lively (capacious) materialities
Influences that pervade, enable, and disrupt us
Vibrant Matter, Jane Bennett
Makers work in a world that does not stand still
Iteration allows for continual correction (material conversation) in response to an ongoing perceptual
monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already
exists into new combinations
Tim Ingold 2010
Each thing framed dwells in the world differently
The frame and framing, through its configuration, must never offer a gap or a bridge through which as it were, the world could get in, or from which the picture could get out
The picture frame reminds us that the work of art, while it hangs in our room, does not disturb our day-to-day sentient and perceptual ecologies
It is like an island in the world that waits until one approaches it and which one can as well pass by and overlook
On The Picture Frame, Simmel
Art becomes art by virtue of literal and institutional framing
Aesthetic contemplation blurs reals and emotional space in a way that produces tangible affects in the world
The thinking hand that mediates a haptic bridge in which creating and holding, becoming and grasping are all practical everyday activities extending the thinking body
Objects that stand in two worlds at once and becoming drawn into the movement of practical life through the virtue of being held in the hand
The intermingling of persons and objects in pictorial space and the aesthetics of the intermingling of function and form in everyday things
The pictorial space is one in which persons and images intermingle and passions can be aroused
Gell
