> [!multi-column] > > > [!bug] Overdue > > ```tasks not done (due before today) hide task count hide due date hide edit button short mode > > >[!success] Today > >```tasks not done (due on today) hide task count hide due date hide edit button short mode > ## Notes - [x] Where is Aula F Balbi 4? 🆔 A6zcQN 📅 2024-09-23 ✅ 2024-09-24 - [x] Where is 🆔 NJmwtbAula Aula Q - Balbi 6 🆔 VlKNjo 📅 2024-09-23 ✅ 2024-09-22 - [x] Where is Aula Q Balbi 6 🆔 bmZHlw 📅 2024-09-23 ✅ 2024-09-24 ### Proof I cancelled Saner.ai ![[attachments/Screenshot 2024-09-22 at 17.52.45.png]] ### Draft of part of the design paper PLAN These considerations suggest the following: the aesthetics of design, at least when it comes to utensils like a viola or a fork, should have an agentive component. Use is not merely a means of asessing how well an object performs its function, but an aspect of aesthetic appreciation in its own right. In the following section we will show how an aesthetics of interaction with designed objects should be understood. Section 3 If we are to provide an aesthetics of use, a promising place to start is with recent work by Montero and Nyguyen on the aesthetics of action. Montero writes about dancers aesthetically appreciating their own movements: "it is natural, at least for dancers, to talk of experiencing beauty proprioceptively. A dancer, during a rehearsal onstage—a situation in which there are no mirrors—may claim that a certain movement or position is beautiful or […] complain that the beauty, or whatever other aesthetic quality he or she is aiming at producing, is lacking: 'The movement is too abrupt'; 'The line is ugly'; 'I'm not feeling the connections' are all phrases that roll naturally off a dancer's tongue" (2006 p. 232). She goes on to defend this idea against objections concerning the privacy of proprioceptive experience and its apparent inability to ground aesthetic disagreements, and to argue that proprioception can inform aesthetic judgments not only for performers but also for observers through a form of kinesthetic empathy. Although Montero describes these sorts of experiences in terms of ‘proprioception’, it is clear that what she is referring to is broader than the dancers simply sensing where parts of their bodies are in space. At the very least, her reference to movements as well as bodily positions suggests that she means to include the dancers’ kinesthetic sense as well as their proprioceptive. SOMETHING ABOUT ACTION being implict in her ideas here. The idea of an aesthetics of agency, the aesthetic appreciation of one’s own actions, is more fully developed in recent work by Nguyen who argues that such experiences occur in everyday life and are essential to fully understanding the aesthetics of games. "Fixing a broken car engine, figuring out a math proof, managing a corporation, even getting into a bar fight—each can have its own particular interest and beauty. These include the satisfaction of finding an elegant solution to an administrative problem, of dodging perfectly around an unexpected obstacle. These experiences are wonderful—but in the wild, they are far too rare. Games can concentrate those experiences. When we design games, we can sculpt the shape of the activity to make beautiful action more likely. And games can intensify and refine those aesthetic qualities, just as a painting can intensify and refine the aesthetic qualities we find in the natural sights and sounds of the world." (2020, p. 13) Here we can see quite how broad agentive aesthetics can be. It is possible to aesthetically appreciate not only our own movements, but also our • Nguyen's approach to games is also very close to the idea we propose here for design. • Indeed, some of the games that Nguyen talks about might be better thought of in terms of experiences of interaction rather than action. • Playing Tetris is quite similar to manipulating a Lowe-ian utensil: the joypad is being used to manipulate the blocks on the screen in real-time. • In the previous section, we argued that aesthetically pleasing use is a component of the aesthetics of design. • We suggested that the experiences of using designed objects contribute to our aesthetic appreciation of them, and that the aesthetically pleasing nature of these experiences contributes to our overall appreciation of design. • Having established the relevance of these experiences of use, we now turn to the task of characterising what makes these experiences aesthetically pleasing. • Our aim in this section is to provide a characterization of the aesthetic agentive experiences that using designed objects can elicit. • To address the question of what distinguishes aesthetically pleasing interactions in design, we turn to Nguyen's work on the aesthetics of games. • Nguyen's project bears some similarities to our own. • He aims to characterise the unique aesthetic experiences that games can provide, particularly those related to agency and practical engagement. • As Nguyen states: "Though games can offer some of the more familiar sorts of aesthetic experiences by telling stories, presenting striking images, and even making arguments, they can also do something else for us: they can provide designed experiences of our own agency." (p. 101) • This focus on the aesthetic experiences of agency aligns closely with our investigation into the aesthetics of interaction in design. • Just as Nguyen argues that games are "particularly well suited to providing aesthetic experiences of agency" (p. 101), we posit that designed objects can offer unique aesthetic experiences through use. • Nguyen's approach is particularly relevant because it addresses aesthetic experiences arising from practical engagement: - "Chess focuses us on thinking ahead down a chain of logical possibilities; Tetris focuses us on high-speed spatial reasoning. And those designed experiences of agency can be aesthetic." (p. 101) • Similarly, we are interested in how interactions with designed objects can give rise to aesthetic experiences. • The parallel between Nguyen's project and our own suggests that his ideas might be transposable to the aesthetics of use in design. • Nguyen introduces the concept of "harmony" to explain these aesthetic experiences in games. • We will examine whether and how these ideas might be adapted to illuminate the aesthetics of interaction in design. • By exploring the potential transposition of Nguyen's game aesthetics to design aesthetics, we aim to develop a framework for understanding what makes certain interactions with designed objects aesthetically pleasing. • Through a discussion of Nguyen's 'harmonies', we will uncover two key points of difference: 1. We will see that Nguyen's ideas about the harmony of capacity cannot be straightforwardly applied to explain the relationship between difficulty and aesthetic satisfaction when it comes to using objects. 2. By considering the phenomenology of agency, we will find that we have good reasons to think that the qualities of actions in using designed objects will differ from those in games. > [!multi-column] > > > [!summary]- Created Today > > ```dataview > > LIST WITHOUT ID file.link > > FROM "" > > WHERE file.cday = this.file.day AND file.name != this.file.name > > SORT file.ctime ASC > > ``` > > > [!example]- Modified Today > > ```dataview > > LIST WITHOUT ID file.link > > FROM "" > > WHERE file.mday = this.file.day AND file.name != this.file.name AND file.cday != this.file.day > > SORT file.mtime ASC > > ``` ### Tickets to Munch tickets for the Munch exhibition![[attachments/Screenshot 2024-09-22 at 19.08.52.png]] ## Quick Links ```dataview LIST WITHOUT ID file.link FROM #quicklink SORT file.cday DESC ``` ## Trackers ```tracker searchType: frontmatter searchTarget: weight folder: daily notes line: title: Weight Tracker yAxisLabel: weight lineColor: blue fillGap: true ``` ```tracker searchType: frontmatter searchTarget: mood folder: daily notes line: title: Mood Tracker yAxisLabel: mood lineColor: green fillGap: true ``` --- ---