Abstract
What follows is a cursory response to Graham Harman’s article “Materialism is Not the Solution.” It seeks to branch out his conception of ‘form’ and more specifically, ‘aesthetic form’ whilst expanding on Harman’s principal objections to the materialist account of change, and how this may challenge the contemporary aesthetic trajectory of relational encounter: particularly Bourriaud’s Relational Aesthetics (2002). Quite generally, Harman’s Object Oriented Ontology might be understood through two chief aesthetic mechanisms; the contingency of counterfactuals complimented with the preliminary development of a nonmodern formalism. The latter is briefly cashed out in a philosophical juxtaposition to Greenberg and Fried’s modernist principles.
Highlights
Robert Jackson abstract What follows is a cursory response to Graham Harman’s article “Materialism is Not the Solution.” It seeks to branch out his conception of ‘form’ and ‘aesthetic form’ whilst expanding on Harman’s principal objections to the materialist account of change, and how this may challenge the contemporary aesthetic trajectory of relational encounter: Bourriaud’s Relational Aesthetics (2002)
Object Oriented Ontology requires a good deal of navigation, and playful experimentation before it can be used as a platform for doing things with other things
I mean that artistic self-criticality operates as an exercise in combining an OOO text, with conventional aesthetic mediums: as if any encountered, re-contextualised, or re-focused minimal object or unit of matter is worth exhibiting in a gallery because it can perform its own ‘thingly’ stage theatrics as such
Summary
Robert Jackson abstract What follows is a cursory response to Graham Harman’s article “Materialism is Not the Solution.” It seeks to branch out his conception of ‘form’ and ‘aesthetic form’ whilst expanding on Harman’s principal objections to the materialist account of change, and how this may challenge the contemporary aesthetic trajectory of relational encounter: Bourriaud’s Relational Aesthetics (2002).
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